Love, Lies, and Layers of Vulnerability

by Annie Sadovsky Koepf

So, it is September; often a time for the end of a summer romance for many. Live Theatre Workshop’s production of Heisenberg, by English playwright Simon Stephens, doesn’t address that theme, but another seasonal one of a May-December coupling. This phrase refers to a woman in the early part of her life, hence May, with a man at least 11 years older in the later part of his life, hence December. Although this is not a new topic, Sabian Trout’s direction, the playwright, and the actors all do a convincing job to present this in a novel way. A woman meets a stranger and gives him a kiss on the back of the neck, and the dance of courtship begins as the play opens.

Roberto Guajardo as Alex and Dallas Tomas as Georgie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Roberto Guajardo as Alex and Dallas Tomas as Georgie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Not often are we privy to those private moments between a couple as they navigate the waters of the early stages of a romance. Yes, we may see them at a party holding hands and gazing lovingly at each other, but we don’t see what happens between the two of them when they are alone. This is what is revealed in Heisenberg. As incongruous as this couple is with a 33-year age difference, Trout did an excellent job casting. Alex, played by Roberto Guajardo, is a 75-year-old Irish butcher who is a lifelong bachelor. Georgie, played by Dallas Tomas, is a gamine, 42-year-old, manic American receptionist. The scene is London today. The set is stark, and the scene changes are done by the actors themselves. Costuming is minimal and yet makes the characters so believable.
With the sparseness of the set, the costumes, and the lack of other characters, we are meant to focus on the couple. Alex appears closed and in no uncertain terms tells us he has no use whatsoever for feelings. He is adamant about that. Guajardo is a masterful actor as he reveals to us very slowly and subtly the many layers of Alex’s being. From the stereotypical curmudgeon we meet at the start of the play, he changes to a man who eventually is able to show his vulnerability to Georgie, and also to us. Georgie’s energy is so manic we want to get her to slow down. Gradually, she starts to relax and reveal her true self to us. I loved watching the physicality Tomas embraced as Georgie. It reinforced her childlike innocence as well as capitalizing on her sexuality. Make no mistake, Alex was taken by this, but he also responds to her the more she reveals her authentic self. Without distractions, we are able to focus on just two people discovering who the other is, and gradually, inconceivably, falling for each other. As unimaginable as they appear as a couple at the beginning of the show, as they grow and reveal themselves to each other, and to us, we can see why they are together.
This is where the title Heisenberg comes in. It is never referenced in the play. It alludes to German physicist Werner Heisenberg, who introduced his uncertainty principle of quantum mechanics in 1927. It states that the more precisely the position of some particle is determined, the less precisely its momentum can be known, and vice versa. The Heisenberg reference is seen in the apparent disparity of the couple and their seemingly very different outlooks on the world. As we are introduced to the most unlikely pair and see who they are, we are not quite sure how this romance will turn out.
Yes, this is a story that has been told many times. However, it is still a story worth telling as it deals with a most primal need for all of us. That is the need for love and acceptance wherever we are fortunate enough to find it. As a 70-something woman and actor, I would love to see a show with the age differences reversed with the older character being a woman. Of course, I would love to play the lead character! Again, not a stereotypical boy toy or gold digger as the younger male, but with a genuine human connection between seemingly very different characters. All too often when there is an age difference between a couple, erroneous assumptions are made as to the ulterior motives of, usually, the younger member of the duo. The possibility of a genuine connection between this pairing is rarely seen, but this stereotype is not evident at all in Heisenberg. I loved the show and the reimagining of an oft-told tale. Although the author was male, with a strong female character in Georgie and a female director, I did not feel that this was a male-centric work. The theme that love is love is universal and is one that today still needs to be portrayed.
Heisenberg is playing at Live Theatre Workshop through September 28, Thursday through Saturday at 7:30 PM, and Sunday at 3:00 PM. The phone number is 520 327-4242. Box office hours are Tuesday through Sunday from 1:00 – 5:00 PM. The box office is open on Thursday through Saturday at 6:30 PM. and Sunday at 2:15 PM. Ticket prices are $18-$20 and are also available through the website livetheatreworkshop.org.

You Can Dance, You Can Try, I Had The Time of my Life!

by Felíz Torralba

Set on an idyllic Greek island, 20 year old bride-to-be Sophie (Olivia Gainey) dreams of having her father give her away on her wedding day. Sophie invites three strangers discovered in her mother’s diary: Sam (Rafael Acuña), Harry (Evan Taylor) or Bill (Andrew Miller) who all might be her father. Sophie secretly invites the three men to her wedding with the hope that she will finally find out who her father is. When her mother, Donna (Thea Lancaster) sees the three men, she, with the help of her best friends and former singing partners Rosie (Gianbari Deebom) and Tanya (Shann Oliver), also tries to figure out what she will do with the sudden appearance of three former lovers. As complications ensue from the misunderstandings, Sophie and Sky’s (Eduardo Rodriguez) wedding and relationship may be jeopardized. While finding what is truly in their hearts, many may discover the course of true love. The best part: the story unfolds to the nostalgic and uplifting beats of ABBA!

The audience is primed for the story with a gorgeous musical overture (Mark Nelson, conductor). From this moment on, I knew that I would enjoy this performance solely based on the orchestra’s infectiously joyful sound. There was a whimsical, modern spin on the music that I enjoyed so much I could have listened to that and been satisfied. When the curtains lifted, I was immediately drawn to the simplistic architecture of this set (Todd Poelstra). There are two versatile pieces of what look like limestone structures with rusted iron rods and old, colorful wooden doors. This transported me straight to Greece and the island hotel where the story takes place. Scene changes were seamless and entertaining (this makes or breaks musicals in my opinion), and it was amazing that the versatility of the set allowed a dock, a chapel, a hotel, and different bedrooms to inhabit one stage.

The choreography (Mickey Nugent) is really one aspect of the show that blew me away the most. The show was choreographed as if the ensemble was one giant amoeba. Everybody hit every cue, each detail was articulated clearly, and each seemed like the moves came naturally to them. The movement supplemented the show so incredibly well and made me want to keep watching. I also think an element of the show that should not go unnoticed is the musical direction (Martha Reed). The cast knew how to HARMONIZE. This made their sound swelling; (literally) giving off good vibrations.

The Cast of Mamma Mia! Photo courtesy of Pima Community College Center for the Arts.

The Cast of Mamma Mia! Photo by Carol Carder, courtesy of Pima Community College Center for the Arts.

One of my favorite performances of the night was the radiant Rafael Acuña, who portrayed Sam. Credit is very much due and deserved here. Acuña was romantic, paternal, showed impeccable vocal control and ability, and gave us a damn good Sam. This program is very lucky to have him and I would watch this performance again just to experience this young man of color perform. Thea Lancaster (Donna) acted as the glue that held this show together. Lancaster was balanced in all aspects of her performance and it was satisfying to watch. She was both playful and maternal, both harsh and sweet, youthful and womanly. I found her portrayal of Donna refreshing.

Unfortunately, I found Olivia Gainey’s Sophie to be insincere and sloppy    She was simply not mature enough to be Sophie, she did not look or sound like an island girl and was not the sexy, fun, curious character that you’d expect when reading the script. In fact, during the number between lovers Sophie and Sky “Lay All Your Love On Me,” I was a little uncomfortable because she looked like a very little girl in a questionable situation. It was evident that she relied too heavily on her direction and her vocal ability (which had its moments but was inconsistent in volume and quality).

Quite frankly, Lidia Zadareky who played Sophie’s friend Lisa read more “Sophie” than anyone else. Zadareky shone brightly and reflected (appropriate) youthfulness along with very capable vocal and physical ability. She looked very confident and gave a genuine performance filled with joy and playfulness. She stood out, you need that kind of power when casting a strong female lead. I feel that if Gainey and Zadareky would have been cast in each other’s place the show would have benefited from it.

I would also like to mention Gianbari Deebom and Shann Oliver – Rosie and Tanya respectively. They were quite the duo and I was impressed by their contrasting vocal timbre. They complimented each other incredibly well (them harmonies, though!). Rosie is a free, fearless woman and Tanya is an affluent, pampered, girly girl and the performances from these two young ladies were so true to the script. It was very refreshing to see young performers put their egos aside and work to tell the story and not make the performance about themselves. Bravo.

Although the casting for Sophie was not ideal, everyone else was cast very strategically. Every actor had strengths and each person’s talents brought something valuable to the storytelling. Each artist understood the story, knew where it was going, and took the audience with them. Most had clear intentions, high energy, and seemed settled into each of their characters. All of this is a sign of good direction (Todd Poelstra) and a healthy communication between the actors and the director.

The costumes were hit or miss (Julio Hernandez). Sophie was dressed very oddly throughout the play. There was not one outfit of Sophie’s that seemed to match the character, not even the wedding dress. Sophie is classically dressed in a white tank top and shorts. Throughout the play, she was wearing long skirts and loud shirts – totally opposite from the character’s free-spirited, curious nature. I was disappointed by Donna’s wedding outfit: a modern day halter dress with blue tye dye. It seemed as if the designer did not understand how to dress people for everyday life, especially women. To contrast, the designer did well with the “showy” outfits: Donna was wearing her classic overalls at the beginning of the play and for the song “Mamma Mia.” Donna and the Dynamos looked FABULOUS. They looked like a girl band, and that was the goal. The party dresses for the ensemble in “Voulez Vous,” were gorgeous.

Gianbari Deebom as Rosie, Thea Lancaster as Donna, and as Shann Oliver Tanya. Photo courtesy of Pima Community College Center for the Arts.

Gianbari Deebom as Rosie, Thea Lancaster as Donna, and as Shann Oliver Tanya. Photo by Carol Carder, courtesy of Pima Community College Center for the Arts.

As always, when experiencing Pima Arts shows, I love seeing young POC’s getting opportunities to play historic musical theatre roles. Everyone seemed like they were enjoying themselves so I could not help but enjoy myself. With all that’s going in on the world today, it was just so nice to forget about everything and smile, laugh, listen to fun music, and be entertained by talented, enthusiastic performers. I can guarantee you’ll have a blast at Pima Arts’ production of Mamma Mia!

Ticket and box office info: Feb 28th at 7:30, March 1st at 2pm & 7:30 pm, March 2nd at 7:30pm and March 3rd at 2pm. Buy tickets to see Mamma Mia at www.pima.edu.cfa or call (520) 206-6986.

 

Don’t Miss This F#!*ing Play

by Gretchen Wirges

I walked into the Cabaret theater at the Temple of Music and Art, and quickly found my seat in the front row. Perusing the program, the other patrons, and the visible set, I notice that cast of Winding Road’s Stupid F#!*ing Bird have started to trickle onto the stage becoming part of the scenery, part of the fabric of the space. Another member of the cast walks on, takes center, and says “The play will begin when someone says: ‘Start the fucking play’.” So of course, I did, and the play began.

Stupid F#!*ing Bird, written by American playwright Aaron Posner, is an adapted version of Anton Chekov’s The Seagull. Russian drama is heavy, dark, and often very abstract. This adaptation is all of those things and more, in the best sense of each word. The play unfolds by introducing us to an ensemble of flawed characters looking for love and truth.

Richard Thompson as Trigorin, Samantha Severson as Conrad, Tony Caprile as Som, Tyler Gastelum as Dev. Jodi Ajanovich as Emma, and China Young as Mash. Photo courtesy of Winding Road Theater.

Richard Thompson as Trigorin, Samantha Severson as Conrad, Tony Caprile as Som, Tyler Gastelum as Dev. Jodi Ajanovich as Emma, and China Young as Mash. Photo courtesy of Winding Road Theater.

The play, directed by Maria Caprile, centers around struggling playwright Conrad, played by Samantha Severson. He struggles not just with his work, but with his relationships. He seems to yearn for connection and honest love from his wide-eyed, ambitious romantic partner Nina, played by Liz Claire , as well as his selfish, successful mother, Emma played by Jodi Ajanovic. Emma struggles with her connection with her son, her brother Sorn, played by Tony Caprile, and her romantic partner Trigorin, played by Richard Thompson. Also part of dynamic struggle is Mash, played by China Young, who has unrequited love for Conrad, and yet is quietly pursued by Dev, played by Tyler Gastelum.

I see a lot of theatre, and it’s been quite a while since I’ve been so enraptured by a play. The ensemble’s honest portrayal of these flawed characters was heartbreaking, and exciting, and such a joy to watch unfold.

Young’s beautiful portrayal of Mash is dark and tender and also humorous, allowing us to identify with her emotional rawness and sense of yearning. Gastelum’s Dev is sweet and grounded and kind and such a subtle standout in this incredibly talented cast. I rooted for him, and hurt for him when rebuffed. Thompson’s Trigorin is smarmy, sexy and yet wonderfully indicative of creative genius (of both the character and the actor). Emma, in the hands of Ajanovic was beautifully reminiscent of theatre greats like Carol Burnett who lace their character’s pain with humor and self-effacing energy. Near the end of the play, she delivers a monologue to Trigorin that took my breath away. Claire’s portrayal of Nina is sweet and tragic. She deftly handles the arc of this character from lightness to dark. Caprile’s Sorn is subtle, and hovers around the periphery of the play with great intention.

And then there’s Severson. Let me take a deep breath for a moment before I go on because she is Just. That. Good. Severson’s portrayal of Conrad’s descent into depression and desperation is nothing short of magical. At the beginning of the play, I noticed that some of the speeches were a little in the pocket, a little rehearsed, a little thin. But Severson unfolds into this play with a beautiful sense of intention and understanding of the demands of such a heavy role. I hurt when she hurt, I angered when she angered, I leaned in when she fell silent.

Samantha Severson as Conrad (center), with Tony Caprile as Som and Tyler Gastelum as Dev. Photos courtesy of Winding Road Theater.

Samantha Severson as Conrad (center), with Tony Caprile as Som and Tyler Gastelum as Dev. Photos courtesy of Winding Road Theater.

This was only the second performance of the run of “Stupid Fucking Bird”. As an actor and a director myself, I know what gifts come from the duration of the totality of a play. One performance is only a small sliver of the gifts of the whole. Each performance brings new understanding of the characters, the intent, and the impact of the content. Sometimes, a revelation comes late in the run that you wish you’d had at the beginning. And I remember thinking while watching this cast, that I want to get tickets for the final performance of this show. Because I want to see what they discover in this journey.

There is a monologue that Severson delivers as Conrad about the intent of art and the needs for new forms of theater. And the play quickly becomes self-referential by directly addressing the audience and calling out the play within a play within a play. There were times I felt uncomfortable, but I think that’s what great art, and this production in particular, does superbly.

One of my only criticisms of the play was in regards to the set. While attractive and well thought-out, one of the central visual pieces was incredibly distracting. There is a large wooden platform that morphs from dock/stage to the flooring of the home on stage. The wood of the platform would creak so loudly every time someone stepped onto it, that it would sometimes take me out of the moment. Hopefully it’s a simple fix because the rest of the setting is perfectly adorned in its warmth and detail.

My only other criticism was in regards to the gendering of the character of Conrad. We are in an exciting time of gender and cultural play in casting. With women embodying exciting roles typically inhabited by men, I wonder if we do a disservice to this effort by having the character remain male.  Why couldn’t Conrad/Con/Connie be female? It wouldn’t change the story. The pain of loss and love and family and disappointment and depression isn’t restricted to gender-specific experience. When I saw that Severson was cast as Conrad, I yearned for the experience of a gender-swapped role. I wonder what more nuance she could bring to her already powerful portrayal. The more we can see characters as bodies of experience and not only as a pigeon-holed color, gender, or age, the more we can explore the core human experience of these characters and find new connections and meaning.

Bottom line, I implore you to go see this play. Challenge yourself to break out of the norm and into new forms of art and theatre like Winding Road’s production of “Stupid Fucking Bird”. The script is challenging and the cast accepts that grand challenge by knocking it clean out of the proverbial park. As soon as you stop reading this review, click on this link and buy your tickets to see it. Today.

Stupid F#!*ing Bird is playing Fridays and Saturdays at 7:30 and Saturdays and Sundays at 2pm through February 17th. Call Winding Road Theater at 520-401-3626 or visit windingroadtheater.org for more information about this show and the rest of their season.

Life Imitates Art Imitates Life in “Stage Kiss”

by Chloe Loos

Stage Kiss at Live Theatre Workshop is a play about actors, which often leads to a sense of self-absorbed narcissism that by nature of its topic excludes casual theatre-goers. But that is not the case here. Sarah Ruhl’s amazing script toes the line between commentary on art and commentary on love, in a comedic way that ensures the audience will not be left behind on more theatre-specific jokes — though if you are involved with theatre, it is that much better.

Shanna Brock and Stephen Frankenfeld in Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Shanna Brock as She and Stephen Frankenfeld as He. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

The play opens with a woman called She (Shanna Brock) auditioning for her first play in years in that insecure, “do-I-belong-here” way that follows many artists throughout their career. She continues to take this hesitancy through rehearsals, although she finds power in slamming her co-star, her ex, He (Stephen Frankenfeld). The stage kisses lead to off-stage kisses as the two rekindle their romance at the end of the first act, leading to She leaving her husband and child and He breaking up with his girlfriend. The duo are accompanied by a colorful roster of well-costumed talent (Michael Woodson, Janey Roby, and Matthew Copely) playing double-cast characters, the most amusing of all being Keith Wick, who utilizes riotous physical comedy and a variety of different voices to great effect. Jubilee Reynolds as Angela, She’s daughter, was also extremely enjoyable as she caught a very relatable “over-it” attitude while speaking truth to the dysfunctional situation her family finds itself in.

The staging was artfully done; a well-designed rotating set takes the audience from the audition room to opening night to She and He’s apartment to another stage. I especially enjoyed the lighting (by Richard Gremel) throughout as it helped indicate place and was a prominent feature in a couple of surreal dream sequences. While rather minimalist, the scene changes took far too long and I found myself listening to the intermittent music (performed by female pop-stars) more than I would have liked. My other difficulty within the piece was the sense of displacement, as I could never quite figure out what time the play was set, nor the timeline of the action.

The cast of Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

The cast of Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

As a melodrama within a drama, Sarah Ruhl frequently blurs the lines of what is truth and what is acting in the piece, thus sending her characters through the wringer with regards to emotions. I think in this it was obvious that most of these actors are comedic players as – while they nailed the quick-paced dialogue and I was audibly laughing through a good 60% of the piece – the moments of genuine emotion were not at the forefront. I was left wanting more of those tender moments that permeate a true relationship.

Overall, I was really excited to see Live Theatre Workshop bring this play to its stage as it felt more contemporary and challenging than most of what I expect their programming to be, featuring adultery, profanity, and, of course, lots of kissing. The fall, rise, and plateau of She and He’s relationship was beautifully structured, particularly as we learn more about their history and hear She reinforce the idea that He was scary, “went through [her] phone,” and that they left each other for a reason. In demystifying the “what-if” of their relationship, Ruhl also demystifies the romance of theatre as they lament that they need the money to be a in a play that features She in the role of a mistreated “whore.” However, in context of clarifying the lack of allure in the relationship and theatre, it is only offensive in the way intended by the script.

However, in a play set first in New Haven (which is only 43% white) then Detroit (which is only 10% white), we again see the lack of diversity on stage in a play about a play, thus doubling the removal of people of color from roles on stage. The evening I attended the theater was completely full and every single audience member was white. This proved to be incredibly uncomfortable for me in a questionable scene in the Detroit portion of the play in which an actor played the role of a pimp that was coded as black (through an unfortunate coat, gold chain, posturing, demeanor, etc.). This is why it is so important to diversify productions in order to avoid reiterating harmful stereotypes. Especially when looking at the statistics I included above, it seems to me that at least half of the roles could have and should have been filled by actors of color. While I don’t think the implications were intentional, this shows what can happen in the macrocosm of theatre if we continue to keep the same (white) voices in the echo chamber of production.

If you like theatre and if you like plays about theatre or plays about love or plays about life, get down to Live Theatre Workshop and see Stage Kiss. It runs Thursday, Friday, and Saturday Nights at 7:30pm, Sunday at 3pm, and a final Saturday 3pm on closing, February 16th.

Tickets can be purchased by calling (520) 327-4242 or online at livetheatreworkshop.tix.com.

A Love Story Told in (Multi)verse

by Leigh Moyer

Billed as “a dreamlike story of love and quantum physics,” Something Something Theatre’s production of Constellations did not disappoint. We’re reminded, through the short lives of honey bees, the impossible incongruities of macro physics and quantum mechanics, and our own life experiences, that every experience, if nothing else, has potential.

Constellations, photo by James Pack.

Damian Garcia as Roland and Bailey Renee as Marianne. Photo by James Pack, courtesy of Something Something Theatre.

Constellations, by playwright Nick Payne, follows the story of Roland (Damian Garcia) and Marianne (Bailey Renee) as they fall in love. It also follows the story where they don’t fall in love. And the one where they fall in love, fall out of love, and fall back in love. Inspired by the physicist Brian Greene’s 1999 book and subsequent documentary detailing the conflicts between the physics of the massive and quantum mechanics though string theory and the theory of multiverses, Constellations plays with the idea that every love story could also be a story of a missed connection. In an interview included in the program, Payne explains, “By chance I watched a documentary called The Elegant Universe by Brian Greene and it was amazing. It was a history of contemporary theoretical physics and right at the end he touched on this idea of the multiverse.”
The idea of the multiverse is that for every decision we make or don’t make, there is another universe that is exactly the same except the opposite decision is made, or not. This idea is used to full effect in this play, which in its ninety minutes details maybe six scenes, told again and again with slight differences and with slight changes that have big consequences for Roland and Marianne.
Payne uses this device to tell a bigger story. As each new version of a scene played out I found myself rooting for the happily-ever-after that some variations offered, while simultaneously dreading the repeated and unforgiving failure we all experience so often in love and life. But more than showing how an interaction could play out, Payne is putting the audience in the sometimes murky, often frustrating position of not being able to find the right words, something that becomes a key part (and the only unchanging piece) of the story.
Both Garcia and Renee are impressive as they say and resay lines without losing the core of the characters you have come to care about. They had a strong ability to hold onto who their character clearly is, even while playing back-to-back scenes with very different emotions. I can’t imagine what this script looks like, but Garcia and Renee take it and instead of making a joke of the characters’ lives, especially in the versions that can’t seem to help but make the wrong decisions, both actors live their characters. Every variation feels believable and extremely, even at times painfully, relatable.
The stage is simply dressed and this serves the show well. The point isn’t where the characters are, but rather what they say and how they say it. Director Joan O’Dwyer uses the actors’ positions on the stage to give the audience clues about how a scene will play out even before they start, giving us just enough insight to feel like we’re a part of the choices Roland and Marianne make.

Constellations, photo by Whitney Morton Woodcock

Photo by Whitney Morton Woodcock, courtesy of Something Something Theatre.

While the two characters portray heteronormative relationships, I was thrilled that Marianne is not only the scientist of the pair, but holds her own in situations that all too frequently paint female characters as damsels in distress. I expect nothing less from Something Something Theatre. This is the only play written by a man in their lineup this season and I would be shocked to see anything but strong women on their stage.
Like the way a constellation in the night sky is familiar and almost not worth noticing, a straightforward love story on the stage loses its grasp on attention; but looking at that same constellation in a darker sky, lost among countless other stars, becomes interesting, a love story told a hundred times, slightly different each time, is greater than its component parts.
Constellations runs through December 23rd. Shows are at 7:30pm on Friday and Saturday, and 2:00pm on Sunday at Community Playhouse (1881 N. Oracle Road). Tickets are available at somethingsomethingtheatre.com or by phone at 468-6111.

Love, Family, and Faith in Invisible Theatre’s The Busy World is Hushed.

by Gretchen Wirges

Cynthia Jeffery as Hannah and Steve Wood as Brandt. Photo by Tim Fuller, courtesy of The Invisible Theatre.

Cynthia Jeffery as Hannah and Steve Wood as Brandt. Photo by Tim Fuller, courtesy of The Invisible Theatre.

The Busy World is Hushed, a play about the dynamics of family and faith, is a new production at Tucson’s Invisible Theatre. Hush, written by Keith Bunin, is the story of mother and Episcopal minister, Hannah, her newly appointed assistant Brandt, and Hannah’s son Thomas. Thomas returns home after years of chasing adventure to seek answers in his deceased father’s writing and Bible annotations in the hopes that he can unlock the secrets to his father’s death. The divide between Hannah and her son is palpable and strained from Thomas’ first, energetic entrance.

The story that follows is rife with conflict, passion, pain, and theological debate. We quickly learn about the desperate need for connection that each character seems lacking.  

The production was enjoyable, thanks to the talent of the amazing actors carrying the show.  But the direction, by guest director Nancy Davis Booth, lacked glaringly in the areas of staging and pacing. The actors’ movement was often very static, cold, and inorganic, which lead to moments of fear, anger, love, or lust that weren’t as believable as I believe they could have been. This was only further stunted by the pacing. The dialogue is fast. Too fast. The spaces between the lines, the words, and the actors are just as important to the storytelling as the lines themselves. And there weren’t many quiet moments of reflection and care that the script begged for.

Before lauding the talented cast, it must be acknowledged that the set and lighting design of the production were on point. The set was perfectly dressed and added a warmth that truly gave you the sense of being in someone’s cherished office and living space. And the lighting added a depth of ambiance and welcomed realism.

Steve Wood’s portrayal of the thoughtful, serious, emotionally shut-off Brandt is charming and yet heart-wrenching. Wood brings a subtle undertone of pain, fear, and longing to this difficult role. The character is struggling with issues surrounding being the caregiver for a gravely-ill father. The audience roots for him. I know I did. Having lost my own father, I was touched by Woods’ deft ability to tap into the love, loss, and even moments of laughter this role required. Watching Woods is always a joy. This is no exception.

The questioning son is played by John Noble. Noble’s ability to find moments of levity with physical humor and responses to the dialogue. The character’s lack of depth on the page likely lead to the lack of depth in the performance. While there were a few weighty moments that allowed Noble to experience more range in emotion, there weren’t enough of these to showcase the obvious talent of this young actor. The moments I didn’t believe him were the fault of the speed of the delivery and the misdirection, not the ability of the actor.

And Cynthia Jeffery. Cynthia. Jeffery. She is a revelation. She is a beam of light. She plays a grounded, gorgeously flesh and bone character. I believed her. I listened to her. I wanted to know more of what she had to say about pain and loss and love. Her acting is sublime. She does something that I swoon for as a director myself, she listens. She leans in to her cast-mates. She leans in to the dialogue. She leans in to the emotions. The only thing that limits her performance is a script that stifles what she, and Hannah, have to say.

Cynthia Jeffery as Hannah, John Noble as Thomas, and Steve Wood as Brandt. Photo by Tim Fuller, courtesy of The Invisible Theatre.

Cynthia Jeffery as Hannah, John Noble as Thomas, and Steve Wood as Brandt. Photo by Tim Fuller, courtesy of The Invisible Theatre.

Hannah is set up as a scholar, counselor, and mother. Her initial dialogue is strong and confident. But by the end of the play, we hear less and less from her and more and more from her spoiled, angry son. The ending moments where we have an opportunity for reconciliation and for the punctuation of her final thoughts on pain and loss are swallowed up by her male counterpart’s summation. She says nothing of true value on this topic. She defers her pain. She defers her own discoveries about her past and about her future.

The Episcopal church began allowing women to be ordained as ministers in 1974. That’s only 44 years ago. And still women in the church encounter roadblocks to advancement, including bold-faced discrimination. This discrimination is felt by the dismissal of Hannah’s character’s thoughts and theories. It’s felt deeply. When pushed to renounce her faith, deny her studies, and reject everything she believes in to win the love of her insistent son, she shuts down and goes to bed. In my opinion, the playwright was working out his frustration with the church and, likely, his own mother. The vitriol cast on both were not confronted. Bunin intentionally stifled the primary, informed, sole female voice in this piece. And while I left The Busy World is Hushed feeling frustrated by the directing and annoyed with the story, I was excited and thrilled at the way the actors managed to shine through.

The Busy World is Hushed is playing Wednesday to Friday at 7:30 and Saturday and Sunday at 3pm through November 11th. There is an additional evening performance on Saturday Nov 10th, 7:30pm.  Tickets are $35, and can be purchased at invisibletheatre.com or by calling 822-9721.