True West: A true theatre experience

by Jenni Morin

Sam Shepard's Pulitzer Prize-winning True West, now playing at the Tobin Center, is a testament to the power of of an honest and simple story. AtticRep's production highlights the script with incredible talent and attention to detail in its technical execution. True West allows audiences to reflect on their capabilities and tolerance for life-altering change.

Andrew Thornton and Rick Frederick in True West
at the Tobin Center. Photo by Siggi Ragnar.

A successful Hollywood screenwriter, Austin attempts to pitch his latest script to a producer amidst the distractions of his estranged uninvited brother. When Lee convinces the producer to run with his simple western instead, Austin becomes unhinged, catapulting the brothers into opposite roles. The action unfolds as each tries to cope with their newly dealt hands and reveals chaos, sibling rivalry and violence.

Andrew Thornton as Lee is an invading force of unkempt burping, fully committed to the disgusting vegabond brother. Rick Frederick as Austin may flop and flail in his exasperation, but he is consistently the tightly wound brother who has lost his pedestal. As the producer, Guy Schaafs is appropriately fake and nearly emotionally leveled. While Rita Crosby as Mom doesn't quite match the volume or boisterousness of her sons, she brings a welcome dose of humor to a tense scene.

Director David Connelly kept the reality of the script while adding humor, movement and plenty of telling looks executed perfectly by his cast. Production Designer Martha Penaranda brought the show together with great technical details. Robin Crews' lighting at times felt haphazard, but colored the mood well throughout. Costumes were on point and well aged, especially the stains on Lee's shirt and trench coat thanks to Angelina Mata. Even the pre-show music was chosen with purpose by Jeremiah Tuetsch while the sound design brought the show to life. Ed Diaz created an immaculately detailed set, although the entire layout of the house seemed somewhat of a mystery based on the staged section. Set dressings were important characters, especially the house plants, as with Rex Harder's props.

True West examines the human need for identity. Without it, Shepard asks if we become someone else or if we are just lost. Shepard also pokes fun at the frills and assumptions of Hollywood and blockbuster movies, making it even more obvious that this well written script is a masterpiece in its simplicity. Marked as a tragicomedy, this gradual descent into desperation begs audiences to examine the characteristics which define identity and if those are purely oppositions to those well-defined, self-confident individuals or counterparts.

The AtticRep production of True West exemplifies theatre as a craft without the unnecessary bells, whistles and gimmicks. True West is a quality theatrical experience boasting unparalleled talents and production value.


True West runs at the Carlos Alvarez Studio Theatre at the Tobin Center through February 8 with performances at 8 p.m. Wednesday through Saturday and at 2:30 p.m. Saturday and Sunday. For more information and to reserve tickets, visit atticrep.org.

Experience The Last Five Years

by Jenni Morin

Divorce can be devastating or a relief, just as the commitment of marriage can be binding or dismissible. In Jason Robert Brown’s The Last Five Years, now running at The Playhouse’s Cellar Theater through February 15, a relationship is on display to experience the rise and seemingly inevitable fall of one couple.

Reagan Wilson (Cathy) and Grant Bryan (Jamie) in
The Last Five Years at The Playhouse. Photo by Siggi Ragnar.

Jamie and Cathy tell the story of their relationship, the courtship, marriage and divorce, through inverse timelines and song. While Cathy begins the show at the end of the marriage, Jamie begins at their meeting. The two characters rarely interact on stage, except when the timelines intersect in the middle of the show for the wedding ceremony. As Jamie finds himself, Cathy loses herself and the telltale signs of trouble are revealed mostly by Cathy’s laments and resolutions and Jamie’s actions.

Director Chris Berry makes an impressive debut at The Playhouse with two powerhouse voices and a challenging piece. Their relationship feels like an everyday romance rather than an all-consuming love, which speaks to the essence of the script: this can happen to anyone. The actors, however, seemed hindered and their voices stifled, perhaps by their unnecessary microphones or the infamous fourth wall, lacking the jolt needed to truly penetrate the intimate space of the Cellar and deeply connect with the audience.
Grant Bryan, making his debut on the San Antonio theatre scene as Jamie, has an incredible voice, as does his counterpart, Reagan Wilson as Cathy. Together, the two bring the script and lyrics roaring to life with soaring ballads and catchy melodies. Although a little stiff at first, once settled into their roles, they become increasingly engaging. Musical Director Darrin Newhardt and his band meld nicely into the scenary and compliment Bryan and Wilson well.
The set by Ryan DeRoos initially seems utilitarian and cluttered, but actually makes a lovely commentary as the actors are surrounded by all the stuff, moments and memories that make up their lives and their relationship. The “cracked foundation” is literal and symbolic, nearly serving as a third character on stage. The set is subtly highlighted by Denisse Chavez’s lighting design while Paige Berry’s costuming aptly reflects the characters’ personalities.

Contrary to popular belief, the divorce rate is not increasing and if trends continue, only one-third of marriages will end in divorce rather than 50 percent, according to data reported by The New York Times this past December. While Jamie and Cathy only exhibit a few of the factors contributing to divorce, there are still several issues plaguing their relationship, such as Cathy’s personal insecurity and Jamie’s infidelity. Regardless, even after 14 years, The Last Five Years accurately represents what some might call an epidemic in modern culture. It’s certainly relatable, even without the divorce factor, as the experience of a relationship’s ebb and flow, arc of passion and ending is universal.

The Last Five Years may not be a hard-hitting social commentary, but it illuminates an often stigmatized subject as a fact of life, not an embarrassment or failure. The Playhouse’s production offers a healthy dose of cynicism, or thankfulness, just in time for Valentine’s Day and the release of the film starring Anna Kendrick and Jeremy Jordan.
Anyone can relate to this musical, a truthful empathetic story with characters fascinating in their simplicity. Bryan and Wilson’s exquisite vocals make The Last Five Years a must see production guaranteed to captivate.


The Last Five Years runs at The Playhouse’s Cellar Theater through February 15 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. and 8 p.m. For more information and to reserve tickets, visit theplayhousesa.org.