Opening this week at Shetler Studios’ Bridge Theatre is the fifth installment of the Duct Tape and a Dream Festival of New & Explorative Works, presented by Roots & Wings Theatre. Their mission is to “explore and expand the possibilities of performance” by emerging artists. Depending which night you attend, you will see a combination of three new plays, a solo show, a devised work and a movement piece. If you attend on Saturday or Sunday, you shall see the same lineup discussed in this review.
The program opens with the evening’s strongest selection - a short play called It Got Loud by Sarah Babin and directed by EJ Marotta. Featuring fine direction, effective blocking and winning performances, Loud tells the story of “Boy,” a one-night-only bartender joining “Girl” at her shift. But why is he really there“ What does he actually want? How does he really know her? Is he totally suave or a total creep? Babin’s strong script keeps you wanting answers just as much as Caralie Chrisco’s Girl wants them. Chrisco plays Girl as the Everywoman who’s had a long, tiring day and who doesn’t have time for the distraction that is Boy. My opinion on her performance changes mid-way as I cross out the word “cold” and change it to “relatable.” This performance ends up hitting home, as I realize “Why wouldn't she be a little cold to this random guy?”
But it’s Tom McVey who makes the play such a standout. His hesitant, awkward energy is attractive and intriguing. As I watch him, I’m dying to know what’s going on in his head while he charmingly smiles and delivers the line “I’m not a stalker.” Even when Babin’s writing gets somewhat melodramatic (particularly, a moment Boy rants about Girl’s voice), McVey’s acting is so, so good that it keeps you right inside the world of the play -- quite a feat. With completely natural overlaps and rapid line deliveries, kudos to these actors for never stopping the active listening required to propel the play forward. It Got Loud is funny, yes, but it’s profound in the way that it presents a man who audaciously trusts something we often ignore - instinct - no matter how socially graceless he comes across.
Up next is Joseph Samuel Wright’s topical Bck t th Grnd, directed by Alex Beck. A seven-character comedy, this play debates the use of technology (namely, the guy-seeking-guy ap called Grindr) in pursuing relationships. Like It Got Loud, Grnd is successful in its humor but there’s an undeniable depth as it asks its audience of 20-somethings: “What‘s the better choice when it comes to love? Settling for chance or taking matters into your own hands?” Joseph Samuel Wright does an admirable job collecting a hodgepodge of characters with different opinions on the matter… opinions that are all valid in their own way. No one in the play is a villain or a hero; simply, they’ve all got starkly dissimilar worldviews.
There’s a “sort-of” plot at play here, but Grnd mostly consists of brief scenes and monologues where we learn about the seven characters, their dating histories, their sexcapades. Paul Corning delivers the most nuanced performance as Jake. Physically, he’s exceptionally clear in asserting his power over the other characters. He somehow makes Jake attractive, masculine, needy, manipulative and charismatic all at the same time. There’s a moment where he and Tim Abram’s Nicky end up at Jake’s apartment. Jake goes in for the kiss, Nicky declines, Jake goes right back in. It’s a painstakingly authentic moment, providing intelligent insight into dominance vs. submission in the world of dating and hookups.
Another standout is Michael Sheehan as Kendal, a more romantic character. His “What If” monologue is something we all long for ourselves (meeting the man of our dreams, being swept off our feet) and he delivers it with effortless passion that makes him, and every audience member, smile like a teenager in love. In his scenes with the other actors, Sheehan provides an undeniable allure that draws people to him. This is a very talented actor.
Of the seven, I am split on two performances acting-wise, and two characters script-wise. Garrett Bruce, as Jake’s uber-gay roommate, is hilarious at times (specifically, his poses in the brief movement sequences) but at other times he’s stereotypical to the point of extremity. Similarly, Stacie Capone has a shining moment as Katareen -- when she laughs in her friend’s face after she recommends she can “talk to people” instead of using the internet. This moment is a brilliant representation of today’s youth. Katareen is that friend we all have who’s annoying but right. Unfortunately, Capone’s portrayal of Katareen is too pushy, too abrasive -- she’s completely off in her own world. You don’t get that human, relatable quality offered in the performances from Corning or Sheehan or the endearing Tim Abrams. Sadly, Rachel Casparian and Brenden Rogers are largely forgettable in roles not as meaty as the others (although Casparian’s laidback energy is definitely admired, in comparison to her female counterpart’s). Everything leads to a simple yet lovely conclusion -- a Meet Cute between two characters that is written and acted in the most adorable of fashions.
Post-intermission, the evening concludes with its weakest entry - the generically titled Two Shall Meet by Caralie Chrisco (who acted in the first piece) and directed by Roxane Revon. Unlike It Got Loud, which features two interesting characters, Two Shall deals with a broad, dreary twosome that’s not as fun to observe. The play follows a man and a woman on jury duty together but nothing arises naturally in the script, giving the whole endeavor a vibe of randomness. Take this line, for example: “Well, now that we’re getting deep, I should tell you that my friend from home just died.” There’s an awkward silence in the audience, not because the playwright has impacted us, but because this information has been vomited out of an actor’s mouth so arbitrarily. I don’t for a second believe that Zach Tirone's Andy would divulge this information to Leslie Fray’s emotionally numb Maggie. It’s a backstory for Andy that is dead on arrival.
Another flaw with the play is that the characters talk about events that would be enjoyable to witness… but that pleasure never comes. We get Andy and Maggie saying “we got so wasted” last night. Well then. Can we see it? Can we see how being drunk would loosen up these stiff characters? Guess not. The play meanders in its second half as the characters have less to do. What enhances the believability in the first and second plays were the actions: setting up a bar, pouring coffee, texting. Here, the two actors intensely lock eyes and it backfires. There simply aren’t enough differences, contrasts or real tension between these two characters, so their verbal-fight sequence isn’t all that riveting. More vulnerability and more chemistry is needed to make the scene even halfway work. The playwright is tackling relevant themes (the desire to connect, the clumsiness of miscommunications, falling fast & hard for someone) but these themes were executed better in the first two plays.
But, as the program notes, these pieces are all at various stages of development. As an audience member, I feel one is ready for full production (Loud) and one has a ways to go (Two Shall). Still, this a thought-provoking night of theatre with strong performances and solid writing sprinkled throughout the evening.
http://www.rawtheatrical.org/ducttape5.html
