Theater Online - New York Theater Reviews

  Susan Louise O'Connor, Alex Pappas and Joe Mathers

The Vigil or the Guided Cradle, written by Crystal Skillman, is said to be a meditation on torture but never really succeeds in exploring any deep thought on the matter. The performances make the show enjoyable, and anything but torture. Travis York in particular gives an outstanding and layered performance. However, even the likability of the leading lady, played by Susan Louise O’Conner, can’t save the play from turning into almost trite territory. Although the play starts out with promise, the “twist” revealed halfway through is border-line soap opera. Imagine, the coincidences that must occur, you say to yourself. It’s true that there must be some suspension of disbelief in order to enjoy theater, but this asks quite a bit.  If the twist was used as a larger metaphor in a more blatant way, it could be more easily digestible and acceptable. However, that opportunity is lost.

When extrapolating on a topic such as torture, there is enormous room to make parallels to the more recent headlines on the matter. When the tagline to the show is “torture between now and then,” one anticipates some sort of cultural relevance. Instead the modern half of the plotline is confusing in what it’s trying to say, if anything. And if it’s not trying to make a point about modern day torture, why have the second plotline“ The idea is there—torture then and now—and it is a fascinating one. How much have we changed since the Golden Age of Torture? Have we changed at all? Why do their measures seem barbaric and ours palatable? These are questions I went in wanting to be challenged, and instead I walked out not entirely sure of what was trying to be said. It’s worth noting that the play can be quite funny at times, and that the past plotline is actually very well-written. It’s only when the two worlds converge that the trouble starts.

  Joe Mathers and Christian Rummel

It seems surprising to me that a work that has been through as much workshopping as this one still provides so many unanswered questions. The most prominent of which is, why? Why have the second plotline, why have to two worlds collide? What is the main idea? If I’m asking too much of this show, maybe it’s because I expect that it, and its’ very capable playwright, can do it one better. With a topic so  explosive and loaded, and a great jumping off point, this play could reach the great heights it now falls short of. The potential is enormous, and I’m confident that, should work on it continue, it could be a truly bold statement.