Nobody's Dying Today!

Julius by Design by Kara Lee Corthron is the first production by the Fulcrum Theater Company, which “supports NY based writers of color to match the demographic reality of New York City.” The company stresses that their “playwrights are made the artistic directors of their own work.” This put me on alert because I wasn’t sure what this would mean in terms of collaboration with a director. The best thing about Julius by Design is the writing, so Corthron being the artistic director definitely worked. Talented director Debbie Saivetz creates a poignant, flowing, entertaining production with the story clearly told. The play begins with Laurel (Mike Hodge), a rather portly middle-aged black man, sitting in his favorite spot on the couch attempting a crossword puzzle. Hodge is not only an actor but the president of the Screen Actors Guild, which isn’t surprising. Hodge ‘s presence as an actor, particularly his voice, captures attention, and for a quick moment you may be reminded of James Earl Jones. His wife, Jo (Suzanne Douglas), sits near him drawing a face on a pumpkin as the couple banters back and forth. Though this seems like a typical day in the life of this family, there is something seriously wrong. We, the audience, don’t discover this completely because Corthron craftily reveals little bits of information about the plot throughout the play, keeping the feeling of tension and surprise.

It’s been seven years and Laurel and Jo are trying to recover from the death of their only teenage son due to a robbery gone bad. While Jo desperately and optimistically searches out new friends, therapy groups, and pen pals in an effort to fill her painful void, Laurel would rather not have the company or be subjected to unrealistic hope.

Every single character in this play is suffering from loneliness and despondency in their own, often amusing, way. All need to move on with their lives. Crystal Finn as George, the door-to-door knife saleswoman, is both hysterical and empathetic. I found myself at times feeling guilty for laughing at her incongruities of low self-esteem, science geeky-ness, and desperation, but I just couldn’t help it.

Another colorful couple, also dealing with a more recent loss of a child, adds to the feeling of family that this despondent bunch starts to form. Max, played by Curran Connnor, as the tech savvy, devoid of emotion husband, and her ultra-depressed, over-medicated wife, Casey, impeccably played by Christianna Nelson, are a hoot and complement each other nicely.

Ethan (Johnny Ramey), who plays their son’s incarcerated murderer, is a very strong actor. A secret letter writing relationship between Ethan and Jo soon becomes the focal point of the play. Lines blur as Jo starts to get maternal and aids in Ethan’s parole, causing almost fatal friction between Laurel and herself. Ramey also plays Julius, the dead son, in flashbacks and other scenes. His characterization of the two roles are so specific that at first I thought there were two actors. Kudos to Corthron again for giving a very interesting twist when Jo finally meets Ethan and sees what he’s really like as opposed to her impression of him through the letters.

What is missing a bit is the journey for the character Jo (Douglas). Douglas could dig a little deeper into the heart of the role, particularly in her connections to her husband Laurel. Throughout the play Jo is generally tormented and flutters about, but she seems to remain tormented in the same vein despite the changes she’s making throughout the play.

Sound design by Rodrigo Espinosa Lozano adds just the right effect to signify jail scenes in particular. On occasion the sound level is a little distracting, particularly when the TV runs during scenes. Lighting design by Scot Bolman is simple and effective for the three locations. The scenic designer Mikio Suzuki McAdams’s modest practical set works well, and I was glad to see that that no furniture was being moved on and off.

This play’s theme deals with an extremely painful situation, the loss of a child, but it’s also extremely funny and poignant. Saivetz and the talented cast keep energized and on track, so you won’t leave the theater feeling depressed.

Haunting

Mimic, written, performed and composed by Raymond Scannell and directed by Tom Creed, mixes haunting drama, poetry and storytelling. The best thing about this play is the writing. Eerily creepy, moody and poetic in style, the play begins at a pivotal moment at the tragic end of the story and then goes back to explain the journey. The play for the most part is not uplifting, as we are dealing with a character’s journey into possible lunacy. But that doesn’t mean you won’t be impressed. Mimic tells the tale of Julian Leary, the only adopted son of the Leary family, growing up in Ireland in the1980s during a time of great duress. We learn that Julian feels isolated due to his adoption, but has a unique talent for mimicking iconic figures and playing piano almost constantly and always loudly. Because of his antics, his father decides to confine that behavior to a dark cold basement where the piano is moved and an old mirror keeps him company. Filled with loneliness and despair, he further develops his skill for mimicry to the occasional delight of his mother and his adoring sister. We see snapshots of his life - his decline into drugs, successes and failures, his intense love for his sister - all the while paralleling a very desolate time in Ireland.

There is no denying that Scannell is gifted both as an actor and as a poetic writer. He uses rhythms and an innovative style in telling his story. He doesn’t ever say, “and then this happened…” ; instead he speaks in the present tense, painting pictures with words that keep you on your toes, since events may take a second to register. Throughout the play, Scannell peppers imitations of Columbo, Jimmy Stewart, his mother and other characters. His depiction of Conn, a character addicted to plastic surgery, is especially creepy.

Scannell underscores the entire play with atmospheric piano chords and sounds. This at times accentuates his performance, but its constancy throughout makes the piece feel moody, which Scannell’s energy as the storyteller also matches. I felt the piano at times keeps him at an emotional distance and I found myself sometimes wishing that he would get up from it in order to embody his characters more freely.

Scannell's eyes are decorated with a black liner and drawn lower lashes. Their wide-eyed appearance, in combination with low lighting, gives a haunting effect reminiscent of Edgar Allen Poe. The set by director Tom Creed - a grand piano and a long horizontal mirror hanging directly behind the piano - proves perfect and symbolic. The line “his face caught between two parallel mirrors” makes for an interesting concept. Are we to assume the fourth wall (the audience) is that other mirror? Additionally, red siren lights hanging from the ceiling coupled with fluorescent tube lights on the floor accentuate different pivotal moments of the play.

A question arises in the play as to what type of mimic Julian might be: a batesian mimic (a harmless being mimicking a predator) or an aggressive mimic (a predator mimicking something harmless). My main question was: why did Julian become a mimic, or what caused him to become one? Sometimes great entertainers come out of highly dysfunctional families or depressed eras. We do know mimicry helped him escape Ireland in the dire 1980s for a career in the States, but where he ultimately lands is gloomy.

The Church Against the Stars

The Starry Messenger by Ira Hauptman is a drama based on Galileo’s emotional dilemma over whether to recant his theories on the rotation of the earth and how his decision will affect him and his family. The Catholic Church calls his ideas heresy, saying it has long been established that the earth is the center with the sun revolving around it. The play opens with Castelli, Gallileo’s young idolizing assistant, played by the likable Jeremy Rish, looking through a telescope in an effort to see four moons surrounding Jupiter.The Starry Messenger, titled after a treatise written by Galileo in 1610, expresses some of those ideas about planets and moons. Early in the play we meet our threatening conflict: two mafioso, red clothed Cardinals, Zacchia and Borgia, played expertly by Louis Vuolo and Brian Gagne respectively. Jorge Luna as Vincenzio, Galileo’s bastard son, serves as a breath of fresh air throughout the play. Vincenzio’s only concern is removing his illegitimate status and Luna plays this with non-calculating delight. David Little as Galileo is a solid performer and aptly carries the play.

Galileo’s other children, his two illegitimate daughters, were sent to live in the convent as nuns. Marnye Young plays Victoria/ Suor Maria Celeste, a passionate devoted daughter with dental problems, to full heights. Young, as Maria Celeste, is torn between her pressures of the church vs. her belief and a devotion to her father. Young plays extreme anguish well but I feel that more tenderness and subtlety might have rounded out the performance.

Elisa Matula does an admirable performance as Livia, Sister Arcangela, the insane daughter suffering from demons and visions of torment. Playwright Hauptam ads an interesting and entertaining element as the source of Archangelica’s visions are glimpses of of modern day. This causes her to spew contemporary science and physics terms which no one except the audience understands. Her terrifying vision of the invention of a bomb especially resonates, making the point that Galileo’s theories could be the beginning of a path to evil.

The sharp choice to make the set a theater in the round proves quite successful. Innovative greenery and solar elements by Megan E. Healey, costume and set designer, disguised the lighting grid adding uniqueness to the minimalist set of moving benches. Costumes seem appropriate to the period. Vincenzio’s flamboyant and pretentious outfit to celebrate his legitimacy is a cause for a chuckle.

The staging by director Susan Einhorn is innovative and the actors frame themselves well on equal portions of the stage in a wholly organic way. Einhorn creates a seamless ensemble with a team of very committed actors. Jeff Greenberg, the lighting designer, deserves recognition for his ingenious rotating star display on the stage floor. This rotating light show is especially paramount following scenes of conflict between Galileo and the Cardinals.

Death is prevalent in the time period that this play is taking place. I could have gone without the dramatization of both sisters’ deaths in the play as they border on melodramatic. However, I was itching to see the death of Carndinal Zacchia. In one scene Cardinal Borgia (Gagne) warns Zacchia about his health issues as he gets over excited in his vehemence directed at Galileo. I found myself distracted in anticipation of the moment when Zacchia keels over, which he never does.

The Starry Messenger is a well acted drama on all counts. Though, as the playwright says, it is not entirely historical, it might serve as a refresher to our origins in science and space.

Visually Creepy

Ghosts, by Henrik Ibsen, produced by the Extant Arts Company Company and adapted by Nemonie Craven, is both creepy and entertaining. The play is directed by Sophie Hunter, who is not at all timid when it comes to mixing multi-media with classic plays. Thank goodness that you can view the ultra-cool set by Flammetta Horvat before the show starts, or you might find yourself distracted by its very unique and disturbing elements: different length wires with working light bulbs attached dangle from the ceiling, hospital I.V. bags hang over numerous potted plants spanning the back of the stage, a transparent cage created out of fish wire maps out the main playing area and three television screens separate the stage in thirds, showing a flurry of images that echo the actors' interior feelings. The play opens with Jacob Engstrand (Chris Haag), a poor working man urging his daughter Regina (Justine Salata), a ward of the Alvings, to come live with him. Things pick up steam when Pastor Manders (Anthony Holds) and Helene (Mrs.) Alving (LeeAnn Hutchinson), two very skilled actors, take the stage. The judgmental Pastor soon learns the err of his ways as horrifying truths about Mrs Alving, Engstrand and her son Oswald's past get revealed. Oswald Alving, expertly played by Paulo Quiros, is home visiting his mother for a mysterious, “indefinite amount of time.” As Oswald comes into the picture later in the play, more shattering secrets get disclosed and “ghosts” seem to be the cause for many people’s torment.

All of the characters in the play have dynamic revealing monologues that are pivotal to the story and possess extreme suspenseful elements. Unusual and identifiable sounds (Asa Wember), TV footage and non-naturalistic staging are used to enhance the suspense and subtext of characters in moments and scenes. But pay attention, because I found myself at times overwhelmed by visual and audio stimulation and missed key plot points. One in particular is a sexually driven scene between Mrs. Alving and the Pastor which is staged with Mrs. Alving slow dancing with the Pastor with video screens playing the couple in pre-filmed romantic embraces. All this is done while Mrs. Alving unveils the truth of her gruesome marriage.

Sometimes tension, sexual or not, is more interesting without explanation. I would have been happy for simpler staging to just allow these talented actors to act. Quiros, as Oswald, does just that and the results are excellent as he expertly plays torment, sexual desire, rage and ill health. The final moment, beautifully played between Mrs. Alving and Oswald, allows the play to end with a “wow!”

Ghosts is a dynamic adaptation, but the multi-media elements at times overpower the actors. Sometimes, less is more.

A New Office Speak

The Memorandum, written by Vaclav Havel and revived by The Actors Company Theater (TACT) after an almost 40 year Off-Broadway respite, is long overdue. If you are the kind of person that enjoys absurd satires in the styles of Ionesco, Pinter and comedy clown routines, then like me you’ll love this play. I can’t get enough of the repetitive patterns, the slamming doors, the lazzis, the Pinter-esque scenes, the constant status changes, and the seemingly appropriate, but actually outlandish office behavior. All this is molded together expertly by director Jenn Thompson. The play is set in a generic corporate office and begins with Gross, the managing director played by James Prendergast, opening an indecipherable office memo written in a complicated and less emotional language called “Ptydepe." This language, unbeknownst to a flabbergasted Gross, has been designated as the new language of the corporation. Gross’s attempts at getting the memo interpreted as well as questioning its purpose bring him only corporate mumble-jumble, and idiocy. The villainous deputy, Ballas, exceptionally played by Mark Alhadeff, carries out his underlying evil plot of sneaking in this new language. Things get especially comic when Ballas bounces of his silent sidekick, Pillar or Mr. P (Jeffrey C. Hawkins).

Kate Levy as Helena and Lynn Wright as Hana, whose eccentricities involve exit lines like, “ See ya later alligator” or constant hair fixing, add to the comic jumble. Almost all of the characters' main concern is to know what's on the lunch menu. Joel Leffert deserves special recognition as Lear, the teacher of “Ptydepe,” because he actually had to learn it, and he did so with skill.

The almost white set with its semi-transparent screens and slick furniture on wheels makes the multiple scene changes speedy. The projections and quirky sound design by Stephen Kunken and what I assume are original music compositions by Joseph Trapanese entertain and mimic the style of play.

At times I did want to see more a of a heated conflict between Gross (Prendergast) and the sneaky Ballas (Alhadeff), especially when Gross has the rug pulled out from under him. But Gross’s constant state of bafflement could have been the point.

Havel’s structure of the play has later scenes mirroring most earlier scenes and moments but with a new point view as roles shift. This becomes quite comical, adding to the satire when each new but familiar scene is recognized. The only characters that seem to have real feelings are Gross and Maria, played by the appealing Nilanjana Bose. Maria is a young poorly treated office assistant who Gross encourages to think for herself. A nice touch is Maria’s final exit, when she wears a yellow hat, symbolically rebelling against the pallet of black and grey office wear by costume designer David Toser.

This Eastern European play by the prominent Vaclav Havel was written during the communist period, so its satiric point had more to do with censoring and communication. Today, we also seem to be finding newer and colder ways to communicate via email, texting, Facebook, Twitter etc., which was the point of “Ptydepe." Thanks TACT for reviving this play after so long.

Unstuck!

Trans-Euro Express by Gary Duggan, directed by Chris Henry, is simply a well-structured, well directed, and well acted play. The play, set in Dublin and making its US debut, is so universally appealing it could be set anywhere. I kept saying to myself, sometimes regrettably, “I’ve done that," and “that’s me!” The story revolves around Ballard (Charlie Kevin), a “stuck” Dublin commuter who never pursued his creative film ambitions, and who is now recovering from a failed relationship and regretting the loss of a potential romantic interest. The play starts off with Ballard (Kevin) performing a poetic mouthful to the audience, recounting the mundane routine of his commute and corporate job. Ballard is later joined by the three other actors: Patricia Buckley, Roderick Hill, and Katy Wright- Mead, who all credibly jump in and out of telling the story to the audience and playing the scenes.

The play feels like it’s in two parts. In the first, we meet Gram, (Hill) who has just come into rock music success with a new CD. Both men, recuperating emotionally from ex -girlfriends or ex-potential-girlfriends, decide to go on a journey by train to make a video for Gram’s CD. This journey, filled with partying and promiscuity encompassing Amsterdam, Berlin and Prague, is what gives the play its title. The first stop is at Ballard’s good friend Fleur, (Clarkson) a pregnant woman with whom there has been some unfinished business. One of the most heartbreaking and well-acted moments in the play is this truthful scene in which the two discuss their state of happiness.

Part two begins when attractive Anna (Wright-Mead) meets the duo in Berlin to act in the video. But when Gram and Anna seem to hit it off, Ballard gets ugly. Though you do empathize with Ballard, you are routing for Anna and Gram to get together.

Wright-Meade as Anna is quite convincingly charming. Charlie Kevin deserves special mention for his multi-layered portrayal of the suffering Ballard reaching his breaking point. His decline into drinking and partying is also horrifyingly realistic. Roderick Hill, as rocker Gram, really can sing and play guitar which boosts his rock star credibility up to high notches.

The set and lights by Paul Smithyman and David Bengali work together, combining projections on rotating screens. At times it gives the play a rock concert feel and I could see this play working in a much larger venue. One particularly “cool” projections effect is the moving landscape that really makes it feel as if they are traveling on a train. Costumes by Lena Sands are interesting, though I was a bit startled by the enormous size of the 6 month old pregnant belly on Fleur. Sound by Jeanne Wu and music choices energize the show.

When Ballard finally decides to make a choice and get unstuck, I must admit, I was confused with the ending. I don’t want reveal too much but my friend thought that without a doubt the ending was happy while I was not so sure. Maybe that was our gifted director Chris Henry and talented playwright Gary Duggan’s intention.

Still A little Hungry

Feed the Monster, a one-woman show with a live rock band that is written, performed and produced by Stephanie Ehrlick, played to a packed high-energy audience Wednesday night. Stephanie Ehrlich played the fictional character Rita Emerson a wannabe rock star who left her Jewish, suppressed, boring parents to pursue a rock career in the mid 60’s and make her mark. This story involves that journey from home to rock goddess and back to present day 1985. Overall, the play is well-crafted structurally. Certain themes or back stories are stated but don't hit you over the head. Early in the play it is revealed that Rita wasn’t encouraged creatively as a child, but, years later, when she returns to ailing parents, she realizes their incredible sacrifices. I loved the uplifting scene when Rita makes it her mission to encourage children, especially women, to be themselves in "I’m Gonna Shout," an original energetic song by Jim Keyes (composer and band member). The perfect ending for this show involves a call-back to an earlier inspiring scene where the traditional "Joshua Fought the Battle of Jericho" is celebrated. That song resonated in my head well after the show was over.

Ehrlich has a true rock-voice similar to that of Janis Joplin. It makes sense that she chose to create and portray this character, modeled loosely on types like Janis. Her band, two multi-talented musicians and composers, rocks just enough not to be intrusive. The music is a combination of original rock numbers and traditional rock numbers. Kia Rogers, as lighting designer, does a great job in creating a night club feel with Howard Rappaport, sound designer, supporting with appropriate reverb and echo effects. As a backdrop, a projector screen displays various top-notch graphic styled 60’s artwork by Gregory Nemec and Todd Spenceman, which relates to parts of the play.

Ehrlick as an actress is quite adept at comedy, specifically in playing the broader characters of her mother, her father, and her friends. She has some funny bits as a folk singer and one hysterical moment when she gets a job on a kids show doing vodka shots between singing lyrics. As a narrator, however, Ehrlick/Rita falls short. She doesn't have a compelling reason to tell and sustain a through line. I asked myself a couple times why she was even telling this story. Her vocal energy as Rita is low and her stories have an overlaying feeling of regret, as if she has given up. Rita also refers to herself as a 250 pound overweight woman during the span of this journey. Erlich, an ultra-attractive actress, doesn’t have a weight problem, so I kept waiting to hear the juicy tale of how she lost all that weight.

In Ehrlick’s bio, she expresses that after 20 years of working in the non-profit world, turning 40 with her life was passing before her eyes, she realized she needed to sing, write and perform. In my opinion that’s a story that is quite compelling. I suggest she write about that in her next show; I’d come to see it.

MISS KIM

Miss Kim, a play by Gina Kim and Ryan Tofil in the NY Fringe Festival, centers on Gina Kim’s true life story thus far. Kim is a Korean American woman whose past childhood trauma of incest and later rape deeply affected her and caused her to engage in self destructive patterns. Kim’s repressed Korean upbringing discouraged her from acknowledging or dealing with this pain and the tragedies in her youth. Revealing her story in play form certainly lets all these gritty secrets out of the bag, and Kim bravely doesn’t shy away from them. The show goes back and forth from narrative to flashbacks in which four other non-Asian actors, Tessa Faye, Justin Gentry, Mathew McCurdy, and Ryan Tofil, play numerous characters in scenes with Kim. Kim, along with Cristy Candler, a very American-looking redhead, share the title character of Miss Kim. At times this convention of two actresses in the same role energizes and adds humor to the scenes, but, on occasion, I found myself wondering why there needs to be two actresses playing the same part. Kim, a very likable actress, at times fails to capture the emotional rawness the role requires. Perhaps Kim's multiple roles as playwright, producer and lead actress are too much for one plate.

The play, by Kim and Tofil, could benefit from some trimming, especially when the same information or stories are being retold with no new information. However, it is lightened up nicely with quirky, contemporary dialogue.

One highlight is that all of the talented actors give solid, performances and work as a cohesive ensemble. They are responsible for a surprising amount of comic moments in a drama of this subject, and are equally skilled in presenting the harrowing re-enactment scenes of Kim’s gritty and harsh traumas. Director Mathew Corozine deserves high recognition for orchestrating such a seamless show. Stand-out performances go to Mathew McCurdy as the incestuous uncle and rejected date,Vladimir, and Ryan Tofil, whose overall physical and vocal variety in his characterizations impressed. Tofil also was quite endearing as Justin, a love interest.

Lighting designer Kia Rogers manages well with a limited light plot. I did sympathize with Rogers when, at times, the actors' blocking and their light focus were out of sync, which can happen in festivals when multiple shows share the same light plot. The set, which consists of stage boxes, serves the physical actors well.

Overall, Miss Kim is an enjoyable show and I left the theater uplifted in the knowledge that this woman has and still is overcoming these painful traumas. She even started an organization on the subject: ARAI-Awareness of Rape and Incest through Art: http://www.ariany.org. The final cathartic moment, when Kim thanks and hugs the actors in a goodbye scene referencing the Wizard of Oz, is a nice touch.

Good Acting, but still Thirsty

If someone were to ask me in one sentence what I thought of A Cool Dip in the Barren Saharan Crick by Kia Corthron….I would say, the acting is superb, it's visually stunning, but there are too many themes. This play centers around Abebe, a South African 20-year-old student (William Jackson Harper) newly arrived in the U.S. and studying to be a preacher. He also has an extreme fascination with water and a passion to save the world from ecological doom. Ironically, the town is suffering from a drought. At the top of the play Abebe is living with Pickle, a jolly black woman played by Myra Lucretia Taylor, and her rebellious teenage daughter H.J., played by Kianne Muschett. Both are recovering from a tragic loss, though H.J believes her mother in dealing with this death of her brother and father is not facing reality. Abebe has also taken it upon himself to comfort a town boy, Tay (Joshua King) who’s gone mute after witnessing the brutal murder of his parents. Harper as Abebe is consistently entertaining, impassioned, and in full command of his numerous, fact-laden speeches against corporate America, water bottling companies, and descriptions on how the two destroy our ecological system.

Corthron, our playwright, is also gifted at writing the characters' personal stories, infusing poignancy and humor. Happily, Harper and Taylor are just as gifted at the telling of their characters' stories, and more than once I was choked up. The play is very entertaining at spots, especially when Abebe is practicing to be a preacher. At one point he rehearses baptism and dunks H.J. in the bathtub. The play, seemingly traditional, takes a surrealist turn when dreamlike intruders make an appearance as Pickle’s level of coherency diminishes. By the end of the first act, we are left with a rather horrific image of the now almost-speaking Tay wearing blood-soaked pajamas.

The play skips time to seven years later when Abebe goes back to his Ethiopian village a day too late to mourn his dead brother Seyoum, played by Keith Eric Chappelle. Abebe is confronted with the fact that he did nothing to stop the building of a “mega damn” which displaced 5000 people in his village and caused Seyoum’s entire family to die. When Abebe returns for Pickle’s 50th birthday, everything seems normal, but Pickle has neglected to tell Abebe some very major plot twists. One, H.J has found religion after some drastic life changes and two, an industrial bottling plant helps employ the town but destroys the environment. These new revelations cause Abebe’s spirit to indulge in one of his only moments of defeat, but only for a second. On a quest to baptize H.J, all three take a journey to a beautiful creek (crick) where Abebe had once baptized and saved his first sinners. This moment might be the impetus for the title of the play as the creek has dried up.

Structurally, many of the plot and storylines that were set up in act one finish in the eight years not part of the play. This gives cause for much exposition but also a little disappointment. I would have liked to have witnessed what developed with Tay (King), the harmonica playing boy, rather than hear about his life tragedy. Now his role didn’t seem to have much significance.

Directory Chay Yew keeps the action moving and gives an overall tight production. Taylor is delightfully human in the face of dealing with pain. Muschett as H.J. ages her part well; though I did find her new found religion made her a little less interesting in terms of conflict. Chapelle gave quite nice contrast to his two parts especially his sensitive and comic performance as Tich, H.J.’s estranged boyfriend/husband.

The set by Kris Stone is gorgeous and works cohesively with the lighting design by Ben Stanton. I don’t think the rolling river would have looked so sparkling without the reflection of lights. One breathtaking vision had the stage transform to look like an ice pond with a figurative tree in the back. I am a big fan of details that tell a story so I especially appreciated the colorful magnets and pictures of children on the refrigerator in the first act in contrast to the stark white refrigerator eight years later.

This play is filled with compelling passionate characters with fascinating stories but the potpourri of messages and themes from Christianity to bad corporate baby formula left me at times overwhelmed.

Smoky Suspenseful Ride

While the audience takes their seats for John Ball’s In the Heat of the Night, adapted by Matt Pelfrey, you’ll notice a caged stage enveloped by gauzy curtains while a scantily dressed and overheated girl seductively dances from deep within. Approaching curtain time, the fog seeps in. One would think this sultry atmosphere was the start of a Tennessee Williams play, but this is clearly not the case. There is a history to this play. First it was a novel, then a movie, and then it became a TV series, but this is the first time it has ever hit the stage. Why? Because this racially charged drama is both compelling and powerful and, though set in the 1960’s, still has relevance. The most astounding thing about this production is the directing. The director, Joe Tantalo, faces a challenge, probably one of his own choosing, of staging a linear, multi-scened, seemingly naturalistic story in a theater in-the-round or square, as is the case with this theater. He does so without a set, furniture or props (minus five guns and a cigar). The committed actors mimed specific invisible set items and I honestly believed I could see jail doors being keyed open. Tantalo’s staging was inventive and created intensity during scene transitions. Additional moments filled with physical symbolic gestures coupled with underscored sound or music broke up the real time of the play. The juxtaposition of these intense moments in contrast to the naturalistic playing of scenes proves quite successful.

At the top of the play, Charles Tatum (Adam Kee) is found murdered, and Bill Gillespie, Chief of Police, played by Gregory Konow, is brought in. Virgil Tibbs (Sean Phillips), an African American, is discovered at a nearby train station, racially profiled and immediately arrested. These Southern police officers quickly discover that Tibbs, a police detective from Los Angeles, will now aid in solving the case. This sequence sets up a conflict between Southern bigoted cops and an unwanted black detective that will drive the play.

The racial hatred displayed as part of the South during this time, which I’m sure is authentically accurate with dramaturg Christina Hurtado and adapter Matt Pelfrey under the helm, is an upsetting reminder. It is also unique that each character has varying degrees of racist hatred and tolerance. The play develops as possible suspects rotate in and out of the crime investigation. If you’re into crime drama, which I am, one particular element is similar in structure to TV’s C.S.I. As each new suspect appears, a symbolic crime-like re-enactment is presented on how this person could have done it. The first time this stylized bit happened, I didn’t get it. I thought I was being told how this suspect killed him, but then after it happened again with the next suspect I realized it was to add to the mystery.

Konow, as the police chief, is extremely believable as a bigoted cop and quite a strong actor. Sam Whitten as Pete, one of the more racist cops, celebrated his prejudice so outrageously that I found myself gritting my teeth whenever he was onstage. Julian Nelson as the bereaved daughter, Melanie Tatum, is quite vulnerable and has a well-played scene with Nick Paglina, the actor playing nice cop Sam Wood.

Because of the “in-the-square” stage, the actors are placed in diagonals or corners to aid visibility. After a while, however, the actors start to feel locked in place. Just as this gets tiresome, Bryce Hodgson, a fresh talent, sweeps up the space with energy and much detailed physicality in both his parts as Eric Kaufman and Ralph.

The responsibility of the play depends in large part on the connection between Konow and Phillips. Phillips undeniably grasps the authoritative poise of a northern detective, but his performance tends to be one-note, which I feel takes away some effectiveness. I would have liked to have seen more human or vulnerable qualities, especially during scenes when he was trying to gain information from suspects.

By the time we are introduced to sixteen-year-old Noreen Purdy, Scarlett Thiele, it seems rather late in the play to develop a new plot. I believe that Tantalo might have agreed because this girl was the sultry girl onstage prior to the play’s beginning.

The set by Maruti Evans is effective, minimalistic and comprised of one broad symbol: a noose hanging from the ceiling, center stage. This noose heightens the themes of the play, especially when our L.A. detective stands under it. Evans also serves as the lighting designer and has an interesting light panel on the stage as well authentic looking flashing police lights. Costumes seem “of the period,” and Phillips looks exceptional in his suit. I was confused by Adam Kee’s overly snug suit. Kee plays the dead victim of Charles Tatum as well as two other characters, and at times I wasn’t sure which character he represented because of lack of variety on wardrobe accesories.

In terms of suspense, until the end I never had an idea of who the murderer could be. Having seen the movie such a long time ago, I had forgotten. But you can bet I’ve been inspired and have added In the Heat of the Night, the movie to my Netflix lineup. I can see why Godlight Theater Company would want to adapt this story to the stage, and overall they are quite successful at it.