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A CurtainUp Review
Killing The Boss

By Nicole Watson

Do you know what's so special about evil? The way people get away with it. .— Catherine Filloux
Killing the Boss
Sue Cremin (standing) and Alexis Camins (seated)
(Photo: Carol Rosegg)
Killing the Boss is a play trying to tell an admirable story, that of one person's desire to make a positive difference in an otherwise corrupt and hostile world. Eve, played by Sue Cremin is the do-gooding American. She teaches playwriting in an unmanned Southeast Asian country but decides that her work in the classroom is an inefficient approach. Clearly, the Prime Minister, who is only referred to as "The Boss," is to blame for the country's ills so Eve persuades her student and driver Sal, played by Alexis Camins to take her to buy a gun. If you want to get rid of evil sometimes you have to go straight to the source.

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.

KILLING THE BOSS
by Catherine Filloux
Directed by Jean Randich
Cast: Eve (Sue Cremin), Doug (John Daggett), Sal, P.M.'s Guard (Alexis Camins), Pierre (Edward Hajj), Ambassador (Mercedes Herrero), Prime Minister a.ka. "The Boss" (Orville Mendoza), Monique/Opera Singer (Dale Soules)
Set Design: Sandra Goldmark
Costume Design: Camille Assaf
Lighting Design: Matthew E. Adelson
Sound Design: Jane Shaw
Running Time: 80 minutes without an intermission
The Studio at the Cherry Lane Theatre 33 Commerce Street (212) 989-2020
From 2/6/08; opening 2/12/08; closing 2/23/08
Tuesday-Friday at 7 pm, Saturday at 1 pm and 7pm (no matinee on 2/16)
Tickets: $18 Reviewed by Nicole A. Watson, on February 9, 2008
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