Review: CREVASSE at Victory Theatre Center

CREVASSE, a world premiere at the Victory Theatre Center in Burbank, is a blistering true story of Hitler, Hollywood and the propaganda machine that almost included the Mouse House. Tom Jacobson’s script is a razor-sharp warning of how easy it is for history to repeat itself with long, dark shadows stretching across our country again.

In 1938, German actress and film director Leni Riefenstahl (Ann Noble) travels from Berlin to Los Angeles to meet with movie studios about distribution for her Nazi propaganda film Olympia. The problem is, her previous propaganda film, Triumph of the Will, was such a powerful success, no one in Hollywood will meet with her — except for one studio head: Walt Disney (Leo Marks), who is riding high on the success of Snow White and the Seven Dwarfs, the first full-length animated feature, which had been an overwhelming success, becoming the biggest sound film in history. Which means he has a lot riding on his follow-up: Fantasia. Will he submit to Leni’s offer for collaboration? 

Jacobson’s project focuses almost entirely on the meeting between the two filmmakers, with flashes of humor, piercing observations, and verbal sparring combined with deft direction by Matthew McCray, creative use of stage space, and riveting performances to create a gripping look at power, ethics, Hitler, and Hollywood. Showcasing two filmmakers from vastly different backgrounds who believe in their own ideals and goals while being at odds with each other, makes for a fascinating glimpse into creative minds.

The writing offers challenging material for the actors, who rise to the occasion. They have fantastic chemistry. Noble brings a raucous joy to Leni. She’s expressive and expansive and sure of her place in a world that is teetering on the brink of World War II. Marks is astonishing as Disney, slipping into the role effortlessly, embodying the beloved creator and businessman like he’s channeling him.

Once the two come together it’s fireworks, but a framing story muddies the narrative, and with only the two actors, it’s difficult to trace their characters as they change (they look too similar) until they settle in as Riefenstahl and Disney. The scenic design by Evan Bartoletti, using movable walls and shimmering gray curtains that double as screens for illustrations and projections (by Nicholas Santiago) while also setting off different parts of the stage for separate scenes is inspired.

The two-hander packs a helluva punch in its 90-minute runtime. In fact, it had such a successful run this past summer, it has been brought back by popular demand, starting October 4. This is your chance to see some powerhouse writing and performances in an intimate venue with a peek at a dark time in our world’s history, which is, alarmingly, all too relevant now.

Photos by Matt Kamimura