SYNOPSIS: Drawing from actual occurrences experienced by the playwright, POINT LOMA centers on Chad, a hospice nurse who accepts a night shift position in a storied Point Loma residence near San Diego's military owned Liberty Station. Following a series of unsettling paranormal experiences, a paranormal podcast team arrives to investigate. They discover that the home has a gruesome and shocking history, rooted in the history of San Diego. Their investigation reveals a crucial revelation: the tales of these lingering spirits require their stories be told for the living to find closure and for the spirits themselves to attain peace.
REVIEW: Tim Mulliganâs supernatural dramedy, POINT LOMA, marks his return to the Chain Theater, under the direction of Ken Wolf, Artistic Director and co-founder of Manhattan Repertory Theatre. This follows last year's âWitchlandâ, also staged there by Mulligan and Wolf. Featuring returning actors Dave Silberger and Chelsea Clark, POINT LOMA is a lively and contemporary supernatural farce that encourages the audience to scream along.
(L-R) Actors Parker Jenkins as Chad & Jessica Luhmann as Anna, photo courtesy of Chris Bentley.
Mulligan skillfully incorporates his personal supernatural experiences into a narrative that showcases his deep understanding and enthusiasm for supernatural drama and comedy acumen. The story features a diverse array of characters, each grappling with their own reasons for enduring the persistent spectral entities seeking connection. In contrast to his earlier work, POINT LOMA adopts a lighter, character-driven approach, avoiding clichĂŠ and the inclusion of social subtext. Indeed, its themes and humor remain PG-13, broadening its appeal. The characters are generally amiable, and a sense of controlled chaos, akin to a Marx Brothers film, permeates the production. A surprising twist awaits, and true to genre conventions, the tale extends beyond the apparent conclusion. The dialogue is consistently playful and witty, perfectly suited to the plot's unfolding circumstances and a lyrical banter happens when the characters are engaged.
The production bursts with energetic and infectious staging and directing. Hank, playing a comatose patient, serves as a catalyst for a character until they are joined by another cast member. Classic theatrical magic animates much of the narrative as draws open and close, pictures fall off the wall, and cryptic messages appear on kitchen items. Skillfully choreographed sound design enhances the theatrical sleight of hand and performances. Transitions are filled with small scenes offstage or roaming ghost figures unnerving the audience with strange sounds and fleeting appearances before the lights come up again.
(L-R) Actors Jevon Nicholson as Rick & Michelle Park as Kim, photo courtesy of Chris Bentley.
The production and costume designs were excellent. For an off-Broadway show, the set was notably impressive. Its minimalist yet well-conceived design effectively immersed the audience in the story. Costuming was utilized subtly but effectively, with few changes, minor accessory additions or subtractions, and slight adjustments in certain scenes to enhance both the performances and narrative. A spirit trumpet, a thin metal cone meant to amplify voices of the dead, plays a key role. While it was the correct shape, the prop appeared to be constructed from something other than metal.
Ken Wolf's masterful direction shines in POINT LOMA, showcasing a magical interplay between the cast and stage effects. The ensemble scenes, rich with movement, sound effects, and engaging actions, embody the classic poetry of a staged comedy. The actors swiftly establish their characters, captivating the audience and holding their focus throughout the energetic 90-minute performance. The cast is excellent, delivering a compelling, relentless and memorable evening.
(L-R) Actors Jevon Nicholson as Rick, Michelle Park as Kim (on table), Ian Brady as Todd, Parker Jenkins as Chad & Matthew Hernandez as Carl (back to camera), photo courtesy of Chris Bentley.
Tim Mulliganâs POINT LOMA, directed by Ken Wolf, is a delightfully sensational supernatural farce. Evoking a blend of âWill & Graceâ and âGhost Huntersâ where the ghosts finally show up, it guarantees an entertaining experience. However, I found myself slightly wishing the narrative had incorporated some social issues, with the same light touch as âWitchland.â Furthermore, unlike Mulliganâs previous âWitchland,â online searches yielded no connection to any darker undertones of the story. While information about the US militaryâs Liberty Station is readily available, I couldn't uncover any hidden secrets or documented supernatural occurrences.
I highly recommend exploring witchlandplay.com to learn about Richland, a small Eastern Washington town with dark secrets. You can also order a graphic novel there, inspired by the stage play of the same title and its sequel, "Snitchland." "Snitchland" is also based on a Mulligan play, and I'm eager for its staging here in New York, hopefully soon.
POINT LOMA begins previews at Chain Theatre, located at 312 West 36th Street, 3rd Fl. Between 8th and 9th Avenues, on Saturday. May 31st with shows at 3PM and 7PM and Sunday June 1st at 3PM. Opening night is Wednesday June 4th at 7PM. The regular performance schedule is Wednesday June 4th thru Friday June 6th at 7PM, Saturday June 7th at 3PM and 7PM and Sunday June 8th at 3PM, then Wednesday June 11th thru Friday June 13th at 7PM, Saturday June 14 at 3PM and 7PM and Sunday June 15th at 3PM. All tickets are $40. For tickets go to https://witchland.thundertix.com/events/238172.
Official Site: https://witchlandplay.com/point-loma/
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Another book I should have read for class in college. This is one from my freshman year, fall semester 2011, World History to 1350 class. This is a book that I bought and ignored, letting it collect dust on the shelf above the desk on my side of the dorm room until I took it home over Winter Break.
Personalities & Problems: Interpretive Essays in World Civilization, Volume I, is a book of fifteen essays, each comparing two rulers from World History up through the time of Louis XIV. Now that Iâve read the book, I now see why I should have read it when I took the class it was bought for. It would have helped me understand more of what was being talked about in class and I might have been able to do a bit better on the exams.Â
As a former history major (now a certified history teacher), I quite enjoyed these essays. I plan to keep this book on my shelf for future reference in lesson plans once I have my own classroom (and as long as Iâm teaching World History). And I highly recommend this book of comparative essays if youâre looking for something that will help you understand the differences and similarities in world cultures that you wouldnât think of comparing!
