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Welcome to the Kingdom of Saudi Arabia
by Eugene Paul
Frequently – too frequently – it is instructive that, in order to attempt to get a handle on what you’ve seen presented for one’s own sake as well as for you, dear reader, to take full advantage of the copy of the play script that a devoted press agent has included with the facts and fancies about the show that worthy individual is pledged to. Because what you’ve seen is such a sophomoric, shambolic mess it couldn’t have been the fault of the author alone and maybe there are shards of coherence, innovation, taste, judgment or plain craft which have been overlooked or misconstrued. Ay me, no. One is left with the last excuse: the mantra of Monk Parrots, the producing organization of this pile of camel dung gracing Theater C at 59E59 Theaters: they do experimental work. And this particular experiment is an extraordinary success in that it makes everything look bad as it goes along insulting everything. But don’t take my word for it, go see for yourself if you have the tiniest masochistic leaning. And do not worry if you cannot doze off. Frequently something loud will happen.
In a nutshell -–how felicitous the feeling when the right word comes to hand – book writer, director, co-lyricist with Katie Pearl, Luke Landric Leonard, artistic director of Monk Parrots bears a bit of a burden any way you look at it. Along with composer Peter Stopschinski whose muezzin like tinges reverberate through Leonard’s setting –L.L.L co-designed with Julian Gardner – and, praise be unto him, also stage manages. (Yes, I know, this nutshell is getting largish).
Hank (Joey LePage) and his wife, Tina (Jessica Dean) arrive in Saudi Arabia in 1981, to better themselves. We see how, in Act one. If you notice a gun at the start of a show you’re pretty sure it’s going to go off later on, so by the same token, you’re entitled to wonder about that gleaming, golden sword hanging over the artfully draped paper suggestions of palm trees and sun drenched habitat designed by L.L.L and Gardner. We know what they do with swords in the Kingdom of Saudi Arabia. Has multi-talented L.L.L got something gruesome in mind for us to flinch from merrily? Depends.
If you take what you get from the stage, although the script declares what they’re doing is a “work in progress”, as of now, it is a rather stupefying cock-up structured around a series of bad, very bad, stand up jokes delivered with great gusto by a cheery, alarmingly energetic cast, with songs interspersed cabaret style at microphones here and there. The script, but not your program, identifies Tina and Joey as Protestants. And so do some of the songs, which also contain references as to how they’re acclimating to living in Saudi Arabia. Their heartily upbeat British neighbors, Dick (John Smiley) and Fanny (Sarah Grace Sanders) already experienced habitués don’t seem to give a fig. Also flitting through their lives is ferocious Abdullah (Christopher Michael Climb) when he is not being manically jolly, and his daughter, Zillah (Ruthy Froch), completely covered, of course.. Last cast member, in a fright wig, is Randy (John Gasper) who represents – don’t ask. And some comedy singing camels. If you kind of want to flee it’s understandable.
Let’s forget about that nutshell word. Actually, there’s the skeleton of a horror show in the script. That sword is indeed there to be used. For beheading infidels. However, fear not. Monk Parrots have decided to envelope their show in this carapace of comic relief that so obscures original intent it is hardly visible. But when Tina, after ten years, continues to adhere to Jesus Christ, Hank, ten years later in Act Two, Hank who has been indoctrinated – well, let’s not think about that. Let’s think jolly. Did you hear the one about the camel and the …
Welcome to the Kingdom of Saudi Arabia. At 59E59 Theaters, 59 East 59th Street near Park Avenue. Tickets: $18. 212-279-4200. 1 hr, 40 min. Thru Oct 25. 
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