Theater Online - New York Theater Reviews

Entwined in a mysterious plot of self-destruction, greed, and repentance, a diner waitress, the proprietor, a stranger, and two cops reveal through apparently “chance” encounters that everyone has something to hide. Triad Arts Ensemble’s production of Second Hand Smoke written by Renee Flemings and directed by Kate Place, unravels each character’s personal objective, initially masked by layers of deceit. Motivation for a better life is the catalyst for change in this survival story.  Although a bit rough around the edges technically, Flemings’ script, with its’ natural dialogue, Place’s casting of the pleasantly quirky characters, and the serio-comic ensemble cohesively create the strength of this production.

 

In a gritty diner/bar, a miserable waitress, Donna (Renee Flemings*), hosts a desperate stranger, Liam (Scott Venters), in more than a bottomless cup of coffee. As their conversation unfolds, it’s clear that Liam needs her guidance and that Donna could use the attention. But when the owner, the fanatical Bobby (Joe Capozzi) enters the joint, he dons the master-of-the-house and commands Donna to serve his bidding. As the scenes mainly progress through Donna’s studio apartment, the streets, the rooftop, and an underscoring of interrogation settings, a series of criss-crossed plots for personal gain evolve. Everyone seems to have his or her own story and a reason for blackmail and murder. 

 

The cast shares an aptitude for illuminating the serio-comedic nature of the characters. The playwright, Renee Flemings*, also plays a sympathetic Donna with the charm and seduction of a Cheshire cat. Flemings’ eyes capture the essence of Donna’s ambitious nature and reflect the soul of a desperate woman on the verge. Scott Venters, as Liam, embodies the physical characteristics of an addict on the edge and works a clever dual personality. Joe Capozzi, as Bobby, artfully distorts the natural vocal rhythms previously established with Donna and Liam’s dialogue and counters with his own melodic cadence. His wonderfully curvy and disentangled bodily maneuvers add to the slippery nature of this wiry proprietor. Rounding out the cast is Michael A. Jones, who plays a stoic Howards; and Josh Casaubon*, who creates a volatile Slade. The two hard-nosed cops always seem to be in the right place at the right time.

 

The production’s few scene shifts are effectively manipulated with the help of the simple, dual functioning scenic elements designed by Rebecca Lord. The diner table and chairs reappear in the apartment and the counter serves as both bed and rooftop, with a lamp to accent the difference between the locations. Graham Kindred, lighting designer, casts diagonal blinds against the background to texture the Diner/Bar, which adds to the seedy atmosphere. The sound design by Chris Rummel punctuates the impending doom hanging over the characters’ heads.

 

Triad Arts Ensemble’s production of Second Hand Smoke has successfully developed real characters grounded through natural dialogue and believable relationships. There are strong inner monologues that reveal truths within that appropriately bookend the production. The numerous criss-crossed plots, at times, do overwhelm the progression of the character-based script. And the interrogations that interrupt the scenes are interesting, but the focus of these moments is not always clear onstage. Perhaps if the direction pulled these moments to the same spot each time and/or had lighting that isolated the focus better, the distinction between the apartment and the holding area would be more apparent. To the production’s credit, the cast works well together to develop this gritty underworld of deception. Second Hand Smoke achieves an intimate relationship with the audience where the characters easily break through the fourth wall to connect us with their own stories of the truth behind “what really happened.”