The Dinosaur Within

Yes, John Walch built his script upon intriguing ideas and interesting characters. But his every line tells the audience what the play is about. Over and over, we're told the play is about finding ourselves and our connections with others, making an impact, leaving our imprint, telling our story, looking back, moving on, adapting to survive. An Act 2 slump isn't helped by talky repetition of information. And near the play's end, comical (intentionally or otherwise) scenes quickly jump to the more somber ones, leaving the audience giggly while dying characters are moving on with their final moments.

All this meaning and metaphor, however, offers director Michael Michetti plenty to play with, and play he does. The dreamtime theme of the play is aptly visualized. François-Pierre Couture's scenic design of foundations and excavations befit the characters' situations. Outside the home of missing-boy Tommy's parents is a sidewalk underlain with soil, waiting to be dug. Beneath the legend of Hollywood starlet Honey Wells, the floor is transparent with a view to Hollywood footprints—her imprint on her story. Mountains that could pass for Southern California and arid Australia enfold all the story lines. Wafting over the visuals, Bruno Louchouarn's sound design plies its mysticism. Film weaves through the play, as Honey's memories appear in black-and-white onscreen and onstage.

Michetti and casting director Michael Donovan made superb choices with much of the cast. In particular, Mimi Cozzens plays a "type" but is specific and delightful as the Honey Wells who looks back on her life. Nic Few enchants as the sweet Australian son dreaming of a life in Hollywood, as well as the parking attendant in Honey's life. VJ Kesh mesmerizes as the aboriginal father. Chuck McCollum evokes the broken man Tommy's father has become. Scott Alan Smith and Rebecca Tilney pull multiple duty, creating with humor and skill various maids, paleontologists, moms, and dads. Shauna Bloom, despite a few bad acting tics, gets to the heart of Honey's earthbound daughter. Emily Kosloski (at times inaudible) plays Honey's younger self. Ari Skye (at times incomprehensible, though with a charming, strong presence) plays Tommy.

Under Michetti's realization, the actors inhabit in lockstep the play's gauzy world between life and death. Meanwhile, the audience is left to dream of a revised script that would let us think for ourselves.

Presented by and at Theatre @ Boston Court, Boston Court Performing Arts Center, 70 N. Mentor Ave., Pasadena. Oct. 8-Nov. 6. Thu.-Sat., 8 p.m.; Sun., 2 p.m. (626) 683-6883. www.bostoncourt.org.