Theatre Review: Sophia

Tucked in a little stadium-seating theatre behind a church on an unassuming road right off of the 101, blocks away from Hollywood, lies the Write Act Repertory (and if you arrive in a timely fashion, finding nearby street parking is an effortless affair).  They're currently producing the West Coast premiere of Sophia, a musical about a young, attractive woman who just can't seem to find the right man.  With the prodding of her best friend, she starts therapy with a doctor who helps her identify all of the wrong types of suitors she falls for.  Based on "extensive interviewing of beautiful women," playwright Michael Antin wrote the book, lyrics, and score to try to figure out just how you solve a problem like Sophia.

Cast photo during the "Black Magic"
music number (clockwise from left):
Gavin Peretii, Breanna Carter,
Derek Houck, Dwayne Stevenson,
Katy Walters, Melissa Bergman,
John H. King

The setting is the 1960s and Sophia is a marketing executive who must negotiate through the dating world filled with many types of "hit men."  As she is physically alluring, men gravitate to her in droves.  She has an extremely active sex life and is abnormally oblivious, so she'll go home with "every man."  Despite her numerous tristes, she's unable to achieve orgasm.  She's a bit of a mess.  In contrast to its time-era, Sophia is an independent woman who is never judged for her promiscuity, which makes for an interesting case study juxtaposed with Peg or any other female character from TV's Mad Men.  Sophia is diagnosed with "beautiful woman syndrome" and gradually learns to love Mr. Cellophane from Chicago (or in this case, Mr. Invisible) while overcoming her condition and wading through the pool of losers she's accustomed to.  The story doesn't know how to end when we arrive at an anomalous moment with Sophia singing at a nightclub, which leads to a pre-calculated misunderstanding.

Throughout the production, there are scene breaks similar to the hit television show Laugh-In with characters delivering a litany of mostly bad pickup lines and observations on male/female relationships (i.e. Husband: "I don't know why you wear a bra--you have nothing to put in it."  Wife: "So why do you wear briefs?")  The interludes are ample.  Many of them are bad, intentionally and otherwise, and one I even spotted from a movie (Jason Sudeikis' chloroform joke from Horrible Bosses).  Some reached beyond the level of crass, causing one audience member to observe, "That was so stupid.  So stupid."  It was hard to tell if her response was a criticism, approval, or a mixture of both.  Though, some of the few shouted deliveries give the terrible punchlines an extra punch.

The cast is small, but mighty and eclectic.  Title star Melissa Bergman has great open facial features and an enduring voice.  The ensemble of five endeavor a host of scene and costume changes.  The vocal styling of Katy Walters was a standout.  She's one of the "everywomen" saddled up in white go-go boots with her hair pulled back in a headband throughout the entirety of the show as her base outfit.  

There's an airy innocence to the production that might not be for all tastes, with audience participation as well.  Rocco Vitacco provided the piano work, Derrel Maury directed, and Leslie Villanueva choreographed.  Plays through May 20th.  You can buy tickets here.