‘Execution’ encourages bad habits

"Execution of Justice" likely is more satisfying to its actors than its audience.

Emily Mann's docudrama -- at the Las Vegas Academy of International Studies, Performing & Visual Arts -- covers the events of Dan White's 1978 murder of liberal San Francisco Mayor George Moscone and gay city supervisor Harry Milk. The production blends real-life screen footage with mostly courtroom scenes.

As many of us will recall, the conservative White, known for his anti-gay sentiments, submitted his resignation as a city supervisor. When the mayor wouldn't rescind the resignation at White's request, the ex-firefighter and police hero opened fire in Moscone's office before gunning down Milk as well. White received a sentence of eight years and was released after five. What makes the tale particularly poignant is that shortly after his release, White killed himself.

Dramatically, White is the most interesting figure, a young man whom time seems to have left behind. The play, though, is too busy condemning the man to really get under his skin (most of it was written before his death). Still, the story packs a punch.

The performances here consist mostly of posing, with high schoolers impersonating savvy attorneys, city employees and old men. I wish director Robert Connor had been able to concentrate more on internal acting work and less on mimicry.

But there are some spot-on moments. Aaron Fentress occasionally superimposes his image of a defense lawyer onto his character, but just as often manages a sincerely felt lecture or two. Paige Billiot, in a brief role as a reporter, projects in a matter of seconds the cynicism and professional air of a seen-it-all journalist. Derek Alcaraz makes for a hilarious drag queen as the legendary Sister Boom Boom and provides a balance to the play's seriousness.

And Drew Lynch has an amusing turn in a double role as a dressed-in-tight-shorts "Boy Toy" and a somber judge. Somehow Lynch gives his judge an unquestionable authority that feels genuine. It's an unexpected and remarkable performance.

Visually, you never get the cramped feeling of a courtroom, thanks to John Morris' spacious yet simple set.

This production may be something that high school theater departments ought to do now and then, for reasons that have more to do with civic lessons than good theater. But it's important to point out that the script encourages in teenage actors many of the bad habits of melodrama and fakery that we so badly want them to avoid.

Anthony Del Valle can be reached at DelValle@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.