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A CurtainUp Review
Killing The Boss
By Nicole Watson
review continues below
We see Eve's brief encounter with "The Boss" (Orville Mendoza) whose only interest is in cracking jokes, evading Eve's questions, and performing Lady in Red. Unfortunately for Eve, and all the citizens of this unmanned country, Eve's assassination attempt fails and she leaves the Boss alive but short one leg.
The rest of the play is all about Eve. We are witness to argument upon argument between The Ambassador (Mercedes Herrero) and Eve's husband Doug (John Daggett). Then we witness argument upon argument between The Ambassador and Eve's parents, Pierre and Monique (Edward Hajj and Dale Soules). These scenes are commentaries on the unfortunate discrepancy between the need to maintain a tenuous "peace," with corrupt leaders and a family's need to find their daughter regardless of ceremony and diplomacy. And of course, what political discussion about corruption and ineptitude would be complete without adding a few comments on our current American President?
What is unfortunate about Killing the Boss is that it brings to light issues of politics, corruption, and injustice in a superficial and trivial manner. Rather than being a thought-provoking comedy, it is stale. The characters, with the exception of the Americans, are all simple archetypes of "Boss" and "Ambassador." With no country named should one assume that all Southeast Asian dictators are alike? If that is the case, then it would stand to reason that all altruistic Americans are alike so why name them Eve and Doug?
In the play's very first moment Alexis Camins appears riding a motor bike masked as a red monkey. This first image suggested a creativity that is lost as the play progresses. All of the performers work admirably to bring a greater depth to the play, especially Orville Mendoza and Alex Camins whose characters only spoke "broken English." The set design by Sandra Goldmark, included water-filled plastic bags hanging from the ceiling and what was later discovered to be a well. While beautiful, the set itself only became relevant at the end of the play. At its core Killing the Boss is interested in important topics but in the end it is merely a collection of disconnected moments with too many holes to be filled.
There are a number of panels on politics, arts, and social justice scheduled in conjunction with this production. They will explore the evil that men do as Killing the Boss unfortunately does not.
Try onlineseats.com for great seats to
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The Playbill Broadway YearBook
Leonard Maltin's 2007 Movie Guide