I last sat down to watch Quentin Tarantino’s debut film, Reservoir Dogs, with some of the guys in my dorm at school. We barely made it past the halfway mark when we turned it off, declaring it nearly unwatchable. We agreed that the pop culture references had aged poorly and the non-linear structure, considered a hallmark of the movie, wasn’t as subversive or unique as it would have been in 1992. Contemporary movies dwarf Reservoir Dogs in terms of violence, another selling point of the film when it was originally released, and even the plethora of characters and fast-paced dialogue caused us to collectively deem Reservoir Dogs a “film that should have been a play”. Evidently someone felt the same way.The Greater Orlando Actors Theatre’s (GOAT) production of Reservoir Dogs injects much-needed energy into otherwise excellent source material that hasn’t aged well on film. Though director Leesa Halstead calls the movie “a cult classic that can’t be duplicated or improved”, I left Sunday night’s performance feeling as though this trans-medium adaptation of Tarantino’s film was the way this story ought to be experienced.
Reservoir Dogs tells the story of six men who are hired to rob a diamond expo by a local mob boss named Joe. Along with his son, ‘Nice Guy’ Eddie, Joe assigns each of the six men aliases so their identities will be completely masked from one another. The heist, which is never actually shown, fails due to an unnaturally quick police response, and after meeting back at a previously agreed-upon warehouse, the remaining criminals determine that there must be a rat. Thus, the central conflict of the story is born as those who made it back to the warehouse attempt to determine the traitor in their midst.
The script is incredibly dialogue-heavy and the lack of a heist scene in what otherwise could be categorized as a “heist” movie lends the story incredibly well to the stage. Certain scenes are visually shocking but audiences in the age of Eli Roth have come to expect to see anything and everything from film. Sitting in the first row, which placed me within reaching distance of the actors, caused me to appreciate the grittiness of the dialogue and the horror of the violence a lot more than I ever could in my living room. Halstead makes the excellent decision to use fake blood packets for some sequences, which led to the right leg of my jeans getting sprayed during the infamous “ear scene”. For the first time, Reservoir Dogs, and the tension between these nearly anonymous characters, came to full, three-dimensional life.
From the moment Channing Ogzewalla, playing Mr. Brown, begins his analytical monologue on Madonna’s “Like a Virgin”, my slight fear that the play would be a film reenactment was effectively destroyed. Reservoir Dogs’ cast is phenomenal and evidently comprised entirely of volunteer actors. Rob Delmedico is a dead ringer for Steve Buscemi’s Mr. Pink. David Strauss, who adapted the film for the stage, plays ‘Nice Guy’ Eddie with every bit of the original’s sliminess. Brett P. Carson (Joe), A.C. James (Holdaway), and Charles R. Dent (Mr. Blue) are excellent in bringing their respective characters to life as well.
The role of Mr. Orange, who spends most of the play bleeding from a shot to the stomach, is already agonizing to watch but Stephen Pugh’s vivid portrayal of this pain capitalizes on the emotional capacity of every scene he appears in. Along with Erik Morris, playing a kidnapped rookie police officer, both actors are able to convey their brutalizing predicaments in a way that I never felt while watching the film. Though I was shocked to see the “ear scene” brought to life, Morris sells the terror element and allows the audience to connect with this victimized character in a manner not present in the film.
The two strongest performances in the show undoubtedly come from Paul Castaneda, playing Mr. White, and Steve Hurst, playing Mr. Blonde. Castaneda captures the experienced, gruff professionalism of Mr. White and drives initial sequences at the warehouse. If Pugh captures the pain of the sequence, Castaneda captures the chaos of the event as his character seeks to maintain a cool head amidst meltdown.
Hurst’s Mr. Blonde is horrifying in a way that Michael Madsen’s portrayal lacked. Hurst’s cool delivery of Mr. Blonde’s classic lines serves to underscore the unchained brutality unleashed on the captured cop. Madsen’s Blonde was disgusting. Hurst’s character is something to fear, which makes for more interesting interplay between him and the other characters. The most intriguing scenes in the play take place between Hurst and Castaneda, who play off one another decidedly better than the film’s cast.
Of course a production of this nature is full of unsung heroes. Makeup, lighting, scene changes, and choreography are all excellent. The use of real firearms with blanks and the previously-mentioned blood packs fully immerses the audience in the drama, so much so that my leg was tagged with red at the screening I attended.
GOAT’s Reservoir Dogs makes an already compelling story more compelling and breathes new life into source material that shows its age on film.
Two more showings of Reservoir Dogs remain: Tonight and tomorrow night at 8PM.




