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THEATRE: New Play Misses Mark

Lance Pepsid

Lance Pepsid

Theatre Review

The premier of a play by a Lankville writer is generally an event of some importance. Therefore, it is disturbing to report that Gore Bins which opened last evening at the Danny Madison Industries Actor’s Arena, missed its mark.

In the final scene, one of the characters puts her finger on the sore spot when she says, “this is inferior. I wish I knew why.”

The work of Cust Shirley, who has heretofore written novels, poetry and Hobo Village, a folk play with music, has been roundly dismissed by critics. Gore Bins continues the theme– it is a bundle of impassioned protests directed towards obscure targets. The character motivations are undeveloped and the general impression is one of confusion.

It would seem that Shirley, who arguably has very little to say, made the mistake of trying to say it all at once, quickly, without making any effort to formulate and augment it effectively. The constant, seemingly pointless, tossing of gore from the catwalks merely serves to exacerbate the problem.

“It was about every 30 seconds or so, they’d drop some gore,” noted patron Steven Buechele of the Lankville Outlands. “It was, like, a bunch of ground-up sausages or something made to look like intestines. The loud splat against the stage floor made it difficult to hear some of the lines that were being delivered.”

Shirley chose as his hero one Marty Totts, a bin salesman (played by Leo Gomez in his debut) who elects to champion the cause of Nino, a fisherman accused of murder.


Marty Totts examines some undercarriage rust in a scene from “Gore Bins”.

The opening scene at Marty’s summer home at Lankville Beach presents an air of suspense with the arrival of Lieutenant Elia who announces that a search is being made for Nino’s victim among “the rocks down by the ocean.” In this scene, JoAnna Breese fares well in the role of “Lisas”, the fiancee of Marty. Jim Corsi, as Lieutenant Elia turns in the most believable performance of the play. Gore is dropped fifteen times with no characters seeming to take notice.

Lisas takes on the defense of Nino; she says, “I will clear his name at whatever cost in personal shame and degradation.” Lieutenant Elia responds, “why, there’s no need for that” to which Lisas says, “Oh, good, alright.” A bunch of gore is dropped and the scene ends.

Nino, however, is still arrested and a long, senseless court scene ensues– Robin Yount is particularly terrible as the distracted judge. Marty and Lisas house suddenly burns down offstage (although a fire was still set) and they are taken into the home of Boy-O, who endeavors to seduce Lisas and, despite his overall unappealing apperance (a lot of the gore falls on him) is successful. The love scene is awkward, rather lewd and marred by a lot of gore falling on the bed.

A street fight occurs between Marty and Boy-O and shortly thereafter, the entire neighborhood erupts into a game of tireless orgying and nothing ends up resolved.

Don McGovern, as Boy-O plays his role with skill and Lillian Tennis as the turtle trainer is competent but even their performances failed to lend support to the proceedings.

Summed up, the play is a travesty. It was produced and directed by Shirley.

  1. July 1, 2015 at 12:03 pm

    I really hate it when reviewers give away the entire plot of a play that I haven’t had a chance to see. Therefore, my tickets to
    to tomorrow night’s performance will be donated to science. Does anyone have their number?
    James “Help me” Rhonda

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