‘Angel On My Shoulder’ struggles to be convincing

By Barbara McGuire

Daily Bruin Senior Staff

Finding love possible between a mercenary country killer and an
American tourist in the jungles of war-torn Africa seems
impossible, but the theatrical production, “Angel On My
Shoulder” manages to pull it off ““ almost.

Written by Michele Raper Rittenhouse and presented by
D’Art Productions, “Angel On My Shoulder”
switches back and forth between two settings.

One in contemporary 1997, in the Catskill Mountains near New
York City, and the other in Africa, 1980. Throughout the play, the
characters of 1997 experience flashbacks to 1980. In both settings
the plot focuses on the trials and tribulations of killer and
soldier Luke, played by Joe Inscoe.

Luke returns to New York from Africa, after his second duty in
Vietnam because Angela, a woman he once was in love with, writes
him a letter telling him she is dying of cancer.

She informs Luke that when she left him in Africa she was
pregnant with their daughter, Sylvie, who now needs his help.
Sylvie, played by Anita Thomas, is addicted to drugs and running
with the local gangs.

Sylvie loathes Luke’s very existence and, not knowing
exactly what to do with this newly discovered daughter, Luke takes
her out into the Catskill Mountains. Here, Luke somewhat forcefully
admits Sylvie into his own method of rehabilitation, that involves
the girl quitting drugs cold turkey for two weeks while she focuses
her energy on building a trash wall.

After much tribulation, Sylvie finally agrees to the terms that
she will stay with Luke for two weeks drug-free, after which Luke
will never again make contact with her.

During these two weeks both characters learn more about
themselves than either thought they ever would. Though Sylvie
appears to need the most help initially, by the end of the play,
through the flashbacks, it becomes apparent that Luke also has his
fair share of skeletons in the closet.

The emotional story line is expressed well by the actors,
although it seemed as if some of the actors didn’t fit their
characters’ personalities.

Luke, for example, a character that is supposed to be a
hard-headed killing machine, is played by an actor with a
soft-toned voice who seems more like a sweet middle-aged country
man than a killer.

Grant, however, fills the role of Angela, or
“Angel,” better than most of the other actors play
their characters. With her beautiful voice and body language,
Grant’s attitude works with her character.

Still, there are also a few questionable points with Angela.

For instance, from how she is portrayed through Luke’s
flashbacks to Africa, she does not seem like the type of woman who
would lie to Luke about having their child up until her dying days.
(It should be noted she could not easily tell him since he left her
in Africa after promising her they would move to Kenya.) Still,
Angela’s character does not come off as bitter in any
way.

Additionally, Sylvie’s hate for Luke seems unwarranted.
The troubled 16-year-old’s rage is somewhat frustrating as
she constantly fights with her father, mocking him by calling him
“Daddy-O.”

Yet, by the end of the story, such problems are not really the
focus of the audience. With a wonderful closing scene in which
Sylvie and her father reach each other by finally breaking through
the walls they put up to protect themselves, the audience is quite
possibly only left with tears. Both characters finally come to
terms with the fact that they cannot survive on their own, and that
they need each other.

Overall, “Angel On My Shoulder” keeps the audience
engaged in each scene through it’s use of flashback. Though
some inconsistencies may irritate the watchful eye, the story is
nonetheless touching

THEATER: “Angel On My Shoulder” plays at The Coast
Playhouse, 8325 Santa Monica Blvd. in West Hollywood, through Aug.
20. Shows are on Thursday, Friday and Saturday at 8 p.m. and on
Sunday at 7 p.m. Tickets are $25.00 and can be purchased by calling
Tickets LA at (323) 655-TKTS.