Olvera Street has been in the news of late, thanks to the ten millionth snarky New York Times story about Los Angeles being “not like New Yorkers expected.” Much maligned in the latest write up (which we won’t deign to link here), the small stretch across from Union Station is the historic heart of Los Angeles.

Just south of the collection of Mexican restaurants and shopping kiosks is Pico House, the nearly 150 year old landmark hotel built by Pio Pico: the last governor of Mexican controlled Alta California.

It is here that the non-profit Downtown Repertory Theatre Company often makes their home, staging site-responsive productions of Shakespeare including Macbeth and Twelfth Night amongst other sections. This month, as part of their 10th season, they’re offering up an original work about the life of the ur-Goth poet Edgar Allen Poe that tasks four actors with the role of Poe and gives the audience some agency with regard to which version of events play out before them.

The Assassination of Edgar Allan Poe is at it’s strongest when “Moran” (Henry Kelly) and “Griswold” (Dan Lench) are battling it out for the soul of the teetering on the edge of death Poe (Devon Armstrong, Downtown Rep’s Artistic Director). There’s much juice in these scenes, which shift into tracks where the audience is free to follow “Moran” or “Griswold” into a recollection of the poet’s life.

The portrait of the artist that comes through is that of a sarcastic asshole, who is somehow still charming despite all his faults and the not entirely appropriate relationship he has with his young cousin, and doomed bride Virginia (Chanel Castaneda). Arrogance is forgivable when the wit is thick, and the language here — seemingly drawn at times from Poe’s own writings, but that could be a trick of the ear — is definitely witty.

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The production itself is bare bones, design-wise, relying on the Pico House’s central courtyard with its stark but noble brick exterior for a visual aesthetic punch. The scenes within the once-upon-a-time hotel don’t quite have the same oomph visually, despite Alison Korman’s game costume choices.

Speaking of games — the pre-show of The Assassination of Edgar Allan Poe consists of cryptography puzzle that both requires cooperation amongst patrons and oddly encourages them not to share information. The payoff of which works at cross purposes with the final, interactive moment of the play itself. It’s an odd choice of a “bonus” which serves to undercut the artistic climax of the piece. Given how long the entire show is — well over two hours once the pre-show is factored in and all without an intermission — it might have been better to have skipped that portion of the production altogether.

A few of the lengthier monologues could also stand to be shaved down, especially where they are not required to keep the dual tracks in synch. A brisker version of this show could loose little in the way of thematic punch and gain something in a sense of urgency as “Moran” and “Griswold” battle it out over the poet’s legacy.

As evenings go, there’s something to be said for swinging through the oldest part of town grabbing a churro from Mr. Churro, and settling in for a show at what was once the crown jewel of LA. A flashback to an simpler and seemingly more civilized time.

The Assassination of Edgar Allan Poe runs through August 26th at the Pico House in Los Angeles. The recommended donation is $20.

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