#point loma

REVIEW: Tim Mulligan’s 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 “Witchland”, 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 cliché 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 Mulligan’s POINT LOMA, directed by Ken Wolf, is a delightfully sensational supernatural farce. Evoking a blend of “Will & Grace” and “Ghost Hunters” 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 “Witchland.” Furthermore, unlike Mulligan’s previous “Witchland,” online searches yielded no connection to any darker undertones of the story. While information about the US military’s 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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Fresnel (fra-nel) lighthouse lenses came in seven different "orders," or sizes; first, second, third, three and a-half, fourth, fifth, and sixth. The first order were the largest, and the sixth the smallest. Generally, the larger the lens the greater its range. The larger lenses could be seen from further away than the smaller ones. Also, if a lens was high above sea level, it could be seen from further away than if it was at the water's edge. The ranges given in the illustration are median distances for a lens with a 1,000 watt bulb.

Lenses and Illuminants

Until the 1850's, nearly every lighthouse in the United States used a number of Argand lamps and parabolic reflectors for illumination. These lamps were placed "side by side around the circumference of a circle," and the number of lamps used depended upon the arc of the horizon it was desired to illuminate. For years a bulls-eye magnifying lens was used on each lamp, but these lenses were practically useless, and in 1840 they were removed, leaving the reflectors.

This system, which had become known as the American system, had but one virtue—the lamps were inexpen-sive. But their faults were legion: They were complicated, they used a vast amount of oil, they required constant attention, and, most important of all, they produced relatively little light.

In 1822 Augustin Fresnel, a French physicist, developed a lens apparatus which was to revolutionize lighthouse illumination. A Fresnel lens is like a glass barrel whose outer surface is made up of prisms and bulls-eyes. In a revolving or flashing light, the bulls-eyes are surrounded by curved, concentric prisms, concentrating the light of a central lamp into several individual beams, radiating like the spokes of a wheel. In the fixed, or steady light, the bulls-eyes become a continuous "lens belt," with the prisms [next page] parallel to it, producing an uninterrupted, horizontal sheet of light. Fresnel lenses were classified into seven orders. The order was determined by focal distance—that is, the distance from the illuminant to the lenses.

The United States was slow to adopt the Fresnel lenses, and for years a controversy raged in this country over the merits of the old and new systems. Finally, in 1841, the United States purchased its first Fresnel lens and installed it at Navesink Light, New Jersey, to test the new system. The Fifth Auditor conducted the experiment with all deliberate speed (the accent being on deliberate); 10 years later there were only three light stations in the country which had Fresnel lenses. On March 3, 1851, Congress expressed confidence in the new system by approving an appropriation bill which included permission for the Secretary of the Treasury to place the Fresnel lens system in new lighthouses, in lighthouses not having lenses, and in lighthouses requiring new ones.

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