The pre-pandemic hit Salvage is back, a couple of terrific cast additions adding even more grit and depth to its already compelling mix of haunted memories and haunting country-flavored songs.

As was true when Tim Anderson’s “play with music” debuted in November of 2019, a chance visit to a run-down, out-of-the-way bar stirs up memories of long-ago friendships, unfulfilled dreams, unforgotten grudges, and a woman named Jennifer while featuring some of the most soul-stirring, gorgeously sung country music in town.

The visitor in question is 20something Harley (Sam O’Byrne), who happens to find himself inside a whiskey joint with just one other customer, a lonely middle-aged drunk (David Atkinson as Preacher) accompanying himself on guitar to downers like “I’m So Tired Of It All.”

Not that bartender Johnson (Leonard Earl Howze) is any more welcoming than Preacher, the former informing Harley in no uncertain terms that he has but two choices (either shut up and order a drink or be on his way), the latter rejecting Harley’s offer to sit in on Preacher’s latest despondent ditty (“Walking The Blues”) with equal bluntness.

What neither Johnson nor Preacher have reckoned with is Harley’s unwillingness to take no for an answer, not when he’s at the bar where country music legend Floyd Whitaker committed suicide, not with so many unanswered questions about Floyd’s life, his death, and the woman people say was an intimate part of both.

Unfortunately for Harley, all he gets from Preacher is the disagreeable revelation that no matter what the young eager beaver may have read while sitting on assorted crappers, the sorry son of a bitch that was Floyd Whitaker did not intentionally take his own life. He simply drowned in his own vomit, case closed.

As for Harley’s own dreams of a career performing self-penned songs, well those too have gone up in smoke now that his wife Destiny (Natalie Llerena) is expecting their first child, and since playing in bars for tips will no longer pay the bills, the singer-songwriter finds himself with no other choice but to pawn the guitar he’s now strumming for the very last time.

It doesn’t take long for a connection to be established between Preacher, Johnson, and the late great Floyd. Suffice it to say that bad blood runs deep, and redemption may come at too high a price.

Salvage does require buying into at least a couple of flukes of fate, but for those willing to suspend disbelief, Alderson’s chamber musical is well worth a visit, if only to hear its eleven catchy country ballads (music and lyrics by Mark Heard, Pat Terry, the late great Randy VanWarner, and Alderson himself).

Damian D. Lewis’s assured direction is once again enhanced every step of the way by Matt Richter’s drama-enhancing lighting design and a pitch-perfect ensemble of four, half of whom are new for 2021.

Atkinson (a Best Lead Performance Scenie winner for Salvage 1.0) returns to anchor the production with his leonine star turn, gradually revealing the pain beneath the whiskey-voiced Preacher’s booze-soaked surliness while delivering raw evocative vocals to match Nashville’s best.

As was true in Salvage’s first incarnation, Howze may not sing a note, but his resonant bass is just one reason the burly, big-hearted Johnson remains a powerful creation, and never more so than when confronting Preacher over long-buried memories and resentments.

Making Salvage even potent the second time round are the darker edges the charismatic onyx-eyed O’Byrne brings to Harley, and a crystalline tenor that proves an absolutely perfect match for Atkinson’s smoky deeper tones, with both Atkinson and O’Byrne proving themselves guitar whizzes to boot.

Last but not least, Llerena (whose stunning dramatic turn in The Road Theatre’s Death House won her an Outstanding Alternate-Cast Performance Scenie) brings those acting chops to Salvage, making Destiny all the richer and more authentic, with vocals to match.

Colin Linden’s musical direction is spot-on throughout, with scenic designer Joel Daavid and properties designer Jenine MacDonald taking advantage of the Hudson Mainstage’s playing area to give Salvage’s corner bar a larger but still just-right lived-in look.

The same can be said for costume designer Chiara Cola’s four character-appropriate outfits, with sound designer Chris Moscatiello competing the production’s Grade-A intimate theater design.

Nic Arnzen is assistant director. Hayden Kirschbaum is assistant lighting designer. Chloe Willey is production stage manager.

Understudies Cameron Dye, Lewis, Maddie Lucas, and Michael Wells will perform on October 29 and 31.

Salvage is produced by Racquel Lehrman, Theatre Planners. Misha Riley, Theater Planners, is assistant producer. Judith Borne is publicist.

Whatever you call it–play, musical, or something in between–Salvage packs a powerful punch. Like its spellbound audience, it has survived a pandemic and found life anew in 2021.

So mask up and head on over to the Hudson. You’ll be richly rewarded for the trip.

The Hudson Mainstage, 6539 Santa Monica Blvd., Hollywood.

No late seating. Everyone must present proof of full vaccination against COVID-19 along with a government-issued photo ID in order to attend. This information will not be stored. Face masks are required to be worn indoors at all times.

–Steven Stanley
October 10, 2021
Photos: Jenny Graham

Click here to read my understudy performance review.

Tags: Hudson Mainstage Theatre, Los Angeles Theater Review, Mark Heard, Pat Terry, Randy VanHorner, Tim Alderson