To borrow a term from that old-time religion his character preaches in the show, ultimately not even Rob Lawhon can save “Panhandle Slim and the Oklahoma Kid.”
At once a charismatic actor, talented vocalist and accomplished guitarist, Lawhon truly established himself with terrific turns as Hank Williams (in “Lost Highway” at Theatrical Outfit) and Buddy Holly (in Georgia Ensemble’s “Buddy”).
Here, as the titular Kid, he’s a dandy singing cowboy who gallops into view on an imaginary horse, providing his own sound effects to boot. With a guitar in tow and a song for every occasion, he travels the Wild West spreading joy, happiness and the “goodness of life.”
It isn’t by chance but by fate that the Kid crosses paths with a nasty scoundrel named Slim, who has been shot, tied up and left to die in the desert. With nothing less than Slim's immortal soul at stake, the Kid puts on quite a display in showing Slim the error of his ways and helping him find peace, if not salvation, before it's too late.
But the quirky premise bogs down prematurely in this strange brew of a play. With a script and original songs by the movie star Jeff Daniels, it's alternately philosophical and frivolous, with understandably mixed results.
Parts of the show suggest a flip-side to “It’s a Wonderful Life,” with the Kid standing in for the guardian angel Clarence, conjuring flashbacks from Slim’s rather woeful life.
Other parts develop with all the subtlety of “The Seventh Seal,” as the two of them debate spirituality, “moral codes,” “ethical standards” and “devilish tendencies magnified beyond reason,” with diverting musical interludes substituting for symbolic chess moves.
To be sure, Lawhon’s renditions of the songs (“In the Meantime,” “Sleepless Nights”) are easy listening. It’s all of the play’s testifying that grows tedious.
The show seems especially offbeat for Georgia Ensemble Theatre artistic director Robert J. Farley, whose work tends to cater to an older, more conservative suburban audience, emphasizing well-worn classics and nostalgic jukebox revues.
Not without merit, Farley’s season-opener takes a gamble, but Daniels’ increasingly heavy-handed material doesn’t pay off.
The production is most effective from a stylistic standpoint. Jonathan Rollins’ scenic design depicts the sprawling barren landscape simply but evocatively, enhanced by Mike Post’s intricate lighting. The period costumes are by Linda Patterson. Adding atmosphere are rattlesnakes and coyotes, courtesy of sound designer Thom Jenkins.
As Slim, Ryan Richardson is in an unenviable position, having to hold his ground opposite Lawhon while also spending the entirety of the 90-minute show with his arms and legs bound. In the process, Slim learns to carry a tune, at least, but signs of the character’s dramatic transformation into a “changed man” are harder to discern.
Throughout what could be the longest death scene in history, he periodically pleads with the Kid to cut the righteous sermonizing and put him out of his misery. Despite Lawhon’s obvious charms, we definitely feel Slim’s pain.
Theater review
“Panhandle Slim and the Oklahoma Kid”
Grade: C+
Through Sept. 18. 7:30 p.m. Wednesdays; 8 p.m. Thursdays-Saturdays; 4 p.m. Saturdays; 2:30 Sundays. $23-$33. Roswell Cultural Arts Center, 950 Forrest St., Roswell. 770-641-1260. get.org.
Bottom line: More lugubrious than lyrical.
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