‘Angry, Raucous …’ review: Good performances weighed down by plot

There’s something delightful about plays about grand divas in crisis.

The prima donna in extremis in Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” which is having its Los Angeles premiere at the Geffen Playhouse, has an air of Bette Davis extravagance to her. When Anna Campbell (Charlayne Woodard) struts around her elegant hotel suite in Atlanta, she can’t resist delivering one of Davis’ signature lines: “What a dump!”

She’s not at all dissatisfied with the accommodations. She’s just frustrated that the weather isn’t cooperating with her upcoming outdoor performance and agitated that this might be a bad omen for her big American comeback.

More than 30 years ago, Anna and her manager and trusted companion, Betsy Samson (a formidable Denise Burse), fled to Europe on the heels of a highbrow scandal. Anna made waves when she performed “Naked Wilson,” a protest piece that had her delivering male monologues from August Wilson’s plays while standing stark naked before a divided audience.

The idea was to call attention to the way women have been de-centered in the male canon, but some felt it was sacrilege to subject Wilson’s work to a feminist stunt. Acting opportunities dried up, and Anna high-tailed it to Amsterdam, where her histrionic grandeur was put to good use in European classics.

Woodard brings Anna to life with a smokey voice, a statuesque presence and an arch demeanor. When her arms are in flamboyant motion, she leaves the impression of a seductive windmill that might slice you to bits if you come too close.

The sumptuous production, directed by LaTanya Richardson Jackson with solidarity for Cleage’s characters, provides a marvelous showcase for Woodward to slink around on Beowulf Boritt’s glamorous five-star set in costume designer Emilio Sosa’s inspired Pucci-esque outfits. Her Anna doesn’t do much but give attitude. Ah, but what delicious attitude she gives!

Cleage’s play, it must be said, is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. Author of “Blues for an Alabama Sky,” a 1995 abortion drama still ahead of its time, Cleage is telling a backstage story that’s clearly close to home. She’s also spinning an intergenerational tale of Black women groping past their initial distrust to a deeper understanding of what they have in common.

The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.

Anna has returned to Atlanta to headline a festival that is rebooting her “Naked Wilson” piece. She’s worried about disrobing at her age, but it turns out that she’s only being honored for her work. A much younger and far less experienced performer has been cast in the part that made her a cause célèbre.

Denise Burse, from left, Deborah Joy Winans, Charlayne Woodard and Olivia Washington in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Jeff Lorch)

Precious Watson (Olivia Washington), who goes by Pete, has not only never performed in a Wilson play but she’s never even seen one on stage. She’s a stripper whose only real dramatic experience has come from the adult entertainment industry. (Don’t call her a porn star, not because she’s ashamed of the films she made but because she’s too modest about her screen credits.)

Anna, her hauteur hardening like a protective shell, is aghast. She’s also fearful about her future. She’s run out of money, and this festival was to have launched her return to the U.S.

Betty, whose fate is tied to Anna’s, has been dangling the prospect of a national tour. But when Kate Hughes (an appealingly grounded Deborah Joy Winans), the producer of the festival, hears of this idea, she thinks it’s completely unrealistic.

“I love Anna,” she tells Betty. “ I’m honoring Anna, but there just isn’t an audience for the kind of presentation you’re talking about.”

Time marches on, and one era’s sensational renegade becomes a footnote in the next. But Anna can’t believe that all she holds sacred — study, discipline, seriousness, commitment — is of little value in the social media world.

Deborah Joy Winans, left, and Denise Burse in “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Jeff Lorch)

Pete (whom Washington plays with impressive self-possession) doesn’t seem at all bothered about what she doesn’t know. Anna keeps prefacing her remarks with the words “no offense,” but Pete can’t help being offended by her pointed disdain. Their standoff energizes the play, but this jolt of momentum comes a little too late.

“Angry, Raucous, and Shamelessly Gorgeous” is not just the title. It’s also a plot summary. The gorgeous part is the richness of Cleage’s characters, radiantly realized by all four actors under Jackson’s warm direction.

Cleage gives the women plenty of substance, though her novelistic mode — more telling than showing — deprives her drama of style. The elegant staging tries to compensate, but the performers have to rely a little too heavily on their own charms to make up the difference in a play that swerves unexpectedly at the end into a cutesy fairy tale.