Whenever Zombie Joe and his troupe of performers announce that they are going into darker territory we sit up in eager anticipation. Not merely because this is the type of stuff we cover, but because this is where Zombie is at his best. So when the little theatre announced their latest creation, Blood Alley, we counted the days down until opening night.
Blood Alley depicts the memoirs of a forgotten street haunted by the unspeakable events of its past; a cursed place of no mercy, inhabited by a one hundred-year accumulation of apparitions, phantasms and sub-breeds that desperately await their next victim. A mix of Grand Guignol, Butoh and Theatre of Cruelty, the play transpires as a series of events with minimal dialogue filled with plenty to say.
Patrons enter the performance space and sit either in the traditional seating area or in one set of chairs lined against the wall on the performance space. In the far corner is a drum set draped in black cloth. The brilliant Kevin Van Cott (Cop-Musician) enters and addresses the audience, speaking of the absurd horrors he has witnessed in this, Blood Alley. He then wanders off, takes his
place behind the drum set, and begins to play as the lights fade to black. The savage drum beat along and discordant tones set the mood perfectly as we buckle up for a terrifying ride. The lights rise and we see the performers seemingly bubble and peel from the walls in a stunning opening salvo that is as beautifully executed as it is frightening.
If you are familiar with Zombie’s signature show Urban Death than you will be in familiar territory. The difference here is that Blood Alley leaves the poignant and comedic behind, going instead for extreme violence, absurdity, and the darkest moments of human existence. The show, presented as episodic vignettes was developed on a premise and then developed in rehearsal, each of the ensemble contributing and developing moments for the show.
The cast members unleash a torrent of rage so forceful and fearless that the audience simply has no clue how far the show will go or what they will see next. The entire ensemble deserves tremendous praise. Liliane Laborde-Edozien, Kelly Powers, Daniel Palma, Ian Heath, Cassie Carpenter, Alex G-Smith, Charlotte Bjornbak, Morgan Allyce Smith, and Danielle Reverman all turn in audacious performances, each given their particular moments to really shine. Allison Fogarty in particular has grown since her last appearance in Sebastian Muñoz’s Bedlam Explosivo by delivering eerie, vulnerable moments throughout. Adam Shows also brings his mask making abilities into the show to create an unforgettable moment in which a multi-faced octogenarian wanders through the ill-fated byway. Elif Savas lands on the stage once again with a command of the space and unapologetic brutality. Of course, we can’t neglect to mention Kevin Van Cott’s driving soundtrack and performance of live score throughout.
The atmosphere and lore that the troupe has developed around this ill-fated alley is rich. So rich in fact that you can imagine that what is seen in the show has some diabolical plot that is itching to be told. This is a den of depravity, a sinful, nasty place where rage, regret, violence, and sex have all played principal roles leaving a path of human debris in their wake. I for one would love to see what brought these people to this spot, what makes this alley so vile, what do its inhabitants want from their victims. The episodic nature certainly works, but the atmosphere is so delicious you want more.
This is not a family show, hence the 11:00pm curtain time in North Hollywood. There are depictions of rape, drug use, necrophelia, and that is just the beginning. If you want a full-on assault to the senses, go see Blood Alley and thank me later.
