Theater Online - New York Theater Reviews

     Tales of fables and romantic intrigue dominate the Children’s Theatre scene, but Hinterland proposes that children are not the only ones who enjoy story time. However, Hinterland, exhibits the strains of a new development series and falls short of neatly constructed storytelling. Written by Benjamin Adair Murphy, directed/costumed by Amanda Friou, and composed by Amy Baer, in the mystical forest of Hinterland, a Thief, named Pinch, is cursed by a Fairy into telling four tales filled with humor and wisdom in order to rescue a fair maiden and to reveal his true love. Exposition further uncovers the company of actors that will perform the roles in this impromptu fabling. Although the main support structure of the fairytale needs work, the internal play within a play scenes effectively convey The Living Room Project mission: [to be] “a safe space for emerging artists to play.”

The four tales fashioned by the cast of mechanicals revolve around the exploration of the human soul, the opening of the mind, the touching of the senses, and the giving of the heart. In the first story, the essence of the soul is perseverance. The tale is about a king and his son, the prince, who happens to be in love with his pants. The company moves effectively in and out of the play within a play format in order to create the sense of improvisation. The second scene opens the mind through a narration about a jealous husband who implores a wish from a witch enabling him to live for eternity in his wife’s brain. He continuously haunts her, as a fly lodged in her head, keeping her from finding true love until the end of her days. As we soon discover, each of these fables intentionally lacks in a truth and the company continues to fail to deliver Pinch’s sleeping princess from her stoned state.

The third story stirs the senses: a widow and her two sons – she loves one, but not the other. Tragedy befalls the despised son, as the widow strikes and cuts out the eyes and tongue of the boy and banishes him to the nearby village. Haunted by the evil deed she has done, a pile of soothsaying leaves continues to remind her of her wickedness. Meanwhile her other dutifully obedient son, takes up his axe to abolish all the trees and leaves on his mother’s property. Years go by and finally, in order to rescue his brother, he discovers that he must not turn a blind eye to those in need. The fourth narrative on Pinch’s journey is one of heart. A northern widowed fisherman lives with his daughter, Ice Rose. An accident occurs and leaves Ice Rose longing for her father. A conniving witch offers to help her by holding her heart captive while the girl retrieves her father from the deep icy waters. Upon returning to the surface, the witch has vanished and so has the young girl’s heart. In order to free her from the curse, her beloved must use his wit to save Ice Rose’s heart. This final tale is also an extended metaphor for Pinch’s romantic journey to reveal his true love.

Overall the company works well as an ensemble troupe in an intimate cabaret style performance, complete with kitschy set dressing, props, and costumes. Adam Laupus plays Pinch; Catriona Rubenis-Stevens is the impish Fairy; Ilana Becker endears us to the ingénue, Lily Wren; Westley Todd Holiday parades as the Thief; Adam Hyland enacts the Drunk; and Elizabeth Ness and Jeanette Bonner create the strumpet Wantons 1 & 2.

Hinterland has snapshots of humor and entertainment, but the plot is difficult to saddle for the hour and a half ride. Benjamin Adair Murphy struggles with his first venture into the Living Room Project, but one can’t help becoming engrossed in the short play within a play series. So I would be on the look out for more imaginative storytelling to come from this group of collaborators.