"Britannicus," Cal Rep, Long Beach, CA

There are many things to admire in Jean Racine’s Britannicus, adapted by John Rafter Lee, and directed by Bart DeLorenzo for Cal Rep at the National Guard Armory.

The magnificent story of imperial succession opens with a Henry the Fourth, Part 1 start in which empire maintenance pales in comparison to Falstaffian fiddling around. Initially we believe that Nero (Josh Nathan) is a tragic figure; that his Achilles Heel is his ignorance of the role his mother Agrippina (Maria Mayenzet) played in his ascension to power. He’s tragic, all right, but more for reasons of cuckoo’s nest madness than any non-payment of maternal gratitude.

Often you marvel at the conspiracy to politically spin palatial folderol – betrayal, conspiracy, cuckolding, and assassination - which would otherwise undermine the Emperor’s ability to rule.

And behold the story of a young man, seemingly unfit to govern, who has greatness thrust upon him, legitimacy be damned, by an overzealous, Machiavellian family member. Sound familiar?

The production shows that DeLorenzo can articulate multiple story lines without the loss of narrative thrust. Agrippina’s back-story alone would make for a stand-alone epic. She persuades husband/emperor Claudius to name as heir his stepson Nero, and not his own son Britannicus. Then, to ensure that he doesn’t change his mind, she poisons him. Then she concocts a nice little relationship between Britannicus (Kyle Hall) and Junia (Anna Steers). Thence begins the power struggle between mother and son, with a lot of collateral damage.

DeLorenzo proves himself a master of mood. The setting reminds me of something out of an Evelyn Waugh novel: posh duds, skeevy sentiments. There’s a crest, perhaps a signet ring, or else a coin – something nonetheless official – painted on the floor. It’s splashed with red, as if the centrifugal force of a very bad reign has sent the Empire spinning out of control to splash, a la Jackson Pollock, the back wall.

Finally, he elicits excellent acting from his cast. Nathan’s Nero was a cross between a characterization from a Raymond Chandler novel and a tone from an early Jack Nicholson movie. He carries charisma to the brink of madness and lurches about the stage like he couldn’t find the key to his Hummer after debauchery at The Polo Lounge.

I don’t know if it was her pharaoh eyes or else that Tammy Wynette pleading in her voice but Mayenzet’s Agrippina commandeered the stage each time she appeared. No mean feat this, especially when she stood opposite Nathan’s smoldering Nero. She made her character a perfect storm of ambition, paranoia, and cold-hearted tactical planning.

Steers’s transformation of Junia who beams with love for Britannicus and then glowers with madness when that’s no longer possible chilled us in that boiling Armory.

And Hall’s imperial Britannicus was noble and generous, if a little naive, the perfect foil to Nathan’s hotheaded, trust-no-one Nero.

Performances are 7pm, Tue – Thu, 8pm, Fri & Sat. The show runs until May 17. Tickets are $15-20. The Armory is located at 7th and Alamitos. For more information call 985-5526 or visit www.calrep.org.