Monsters of the American Cinema
Written by Christian St. Croix
Directed by Gil Reyes
Review by Regina Harris
Entire contents are copyright @2024 by Regina Harris. All rights
reserved.
Set in a gritty small-town drive-in theater which can only afford to
screen old films, Monsters of the American Cinema peels away the
layers of the relationship between Remy, a Black gay man, and his
deceased husband’s teenage son, Pup. Experiencing the effects of
generational trauma, Remy and Pup must come to terms with the pain
of addiction, grief, and otherness. Using images of horror films to
express things that are often difficult to elucidate in words, the
production is a rich exploration of parents and their emerging young
adults, given that each have their own demons.
Flickering clips from Creature from the Black Lagoon, Frankenstein and
the Werewolf (among others) create the cozy, familiar feeling of
wrapping up in a warm blanket on a cold fall evening to binge those
seemingly simple stories, every line of which Remy and Pup know by
heart. They play games calling back to the iconic characters and scenes
that only the most hard-core film aficionados would know. It’s autumn
in their world which means homecoming at Pup’s high school, and his
anxieties are up while he makes plans for his date with the cool girl.
Remy does his best to quell those anxieties; he has struggled to provide
a good life for them since becoming a suddenly single father in an
increasingly complicated world. Remy has tried to protect Pup
physically and emotionally, but the violence of a recent gay bashing in their small community, as well as acts of bullying at Pup’s school begin
to puncture their family bubble, causing each to delve into what it is
that compels people to perform monstrous acts.
Aurion Johnson as Remy could not be a more loving or hipper
stepparent. His portrayal of grace under pressure and outward
affability are played to perfection, making it even more impactful when
he reveals the pain of his grief and loneliness and the fears of every
parent for their child. Ian Cobb as Pup is a young but seasoned actor.
His intense physicality is rivaled only by the depth of his vulnerability.
Together, these two create an instant connection with each other as
well as the audience. We are instantly invested in both characters.
The set and lighting are beautifully atmospheric while the use of space
is ingenious (if a little anxiety producing.) The pair’s outside movie lair is
an elevated platform over the trailer in which the family lives. I admit to
a little fear that one or the other might lose their footing, but it soon
became clear these two actors are more than capable enough to
handle it. There is an admitted issue with sightlines, but center section
seating eliminates that.
Fall is a time of reflection; film and theatre are the mirrors that reflect
us back to ourselves if brave enough to look. Pandora Productions has,
once again, created a safe place for us to do just that.
Featuring Aurion Johnson and Ian Cobb.
Monsters of the American Cinema Pandora Productions
October 11, 12, 17, 18, 19, 24, 25, 26 @7:30 pm
October 13, 27 @ 5:30 pm
October 20 @ 2:30 pm
The Henry Clay Theatre
604 S. Third Street
Louisville, KY 40202
Regina Harris has lived in Louisville for nearly three
decades and has worked for many of its theatre
companies and venues. She holds a degree in Humanities
from UL and to share her love for great food as well as
Louisville history and architecture, she is a guide with Louisville Food Tours.
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