Creatures of the Night may break you

by Jenni Morin

Creatures of the Night, written and directed by Emily Fitzgerald, challenges the resilience of humanity with an intriguing detective’s mystery. Now playing at The Overtime Theater through March 26, SWALDA’s production provides a brief glimpse into the dark underbelly and psychological warfare crime plays on the fabric of civility.

Creatures of the Night follows Private Investigator Annabelle Valentine and her partner Mike Dandy as they embark on pseudo detective work until Dandy’s old flame, Irene Lerad, comes back in town. Wary of Lerad’s connection to organized crime and her unsavory henchwomen, Valentine takes it upon herself to protect Dandy. The mystery deepens as bodies turn up and Valentine and all those she comes in contact with become entrenched in finding the mastermind criminal behind it all.

True to the playwright’s intent, the clues become obvious in retrospect and the play is a success as a mystery. The soliloquy proves an imperative device throughout the script as Valentine analyzes her situation as well as her own psyche. Her fascination with vampires and darkness serves as a great metaphor for describing how “crime leaks vitality” and the possibilities of the uninhibited mirror those of the immortal. While the “don’t let it break you” mantra at times feels overdramatic, its repetition fortifies the play’s conclusion. One atypical notion that perhaps makes the script more thought provoking, but still feels incongruent and far-reaching, is how evil abandons preying on the weak to systematically break stronger souls and then recruit them for an even more unhinged and dangerously loyal army. This frightening strategy serves as a warning amidst current events, from terrorism recruiting to electing the wrong commander in chief, making the play more relevant than perhaps ever intended. 

As Valentine, Sarah Nixon Hemmi dutifully led the cast and provided the most developed character, although eye contact during the soliloquies would have been more engaging. Jay Overton as Joe conquered a formidable role, while Miguel Di Costanzo as Mike Dandy and especially Laura Epstein as Aurore Clement were steadfast and convincing in their portrayals. Deborah Basham-Burns’ Piper Prudeaux was the most natural, as Michele Wisniewski certainly captured creepy along with Chelsea Robertson’s unexplainable Jessop. Abbey Storch as Adele Dixon, Justin Keown as Lt. Jefferson Thomas, and Cristina Rodrigez as Irene Lerad rounded out the cast.

For her first full-length play, Fitzgerald weaves an interesting tale complete with favorite stock characters of the mystery genre. The lighting was much too bright to evoke a sense of noir, which would have been a welcome technical layer in the production. The lack of intermediary music to cover the scene changes, however, was the most noticeable lost opportunity for foreshadowing, elevating the feeling of suspense, and bridging the scenes. The set by Alex H. Coy IV and Chris Champlin was well-plotted, decorated with detail and gave a framework to the production. Even as the pacing was slower than desirable, the relationships between the characters and the mounting mystery propelled the action to a satisfactory ending.

Fitzgerald’s Creatures of the Night offers an entertaining new twist on the villain and hero dichotomy. Although the Overtime production lacked technical elements and truly gripping characters, it questioned some of the basic perceptions of good and evil in an enjoyable rendition of mystery theatre.


Creatures of the Night plays at The Overtime Theater through March 26 with performances at 8 p.m. on Fridays and Saturdays; 7 p.m. on Sunday, March 6; and 3 p.m. on Sunday, March 20. For more information and to purchase tickets, visit www.theovertimetheater.org.

Breathing life into The Seagull

by Jenni Morin

The passion, fame, insecurities and life’s purpose detailed in Anton Chekhov’s The Seagull are as applicable to today’s obsession with obsession as they were when it first premiered in 1896. The Classic Theatre of San Antonio makes this Chekhovian comedy not only palatable, but also enjoyable and relevant. The immensely talented cast of The Seagull can be seen at The Classic through March 6.

Kelly Hilliard Roush and Michael
Holley in The Classic production
of The Seagull. Photo: Siggi Ragnar.

The Seagull takes place on the country lake estate of Peter Sorin, whose sister is famous actress Irina Arkadina and has taken famous writer Boris Trigorin for her lover. Irina’s son Constantine has written a symbolic play and cast his love interest Nina Mikhailovna of a neighboring estate as the lead. In an attempt to prove his worth and gain respect from his mother, Konstantin invites everyone, to view the play. After being mocked by his mother and Nina rejecting his love, Konstantin becomes depressed obsessed with dismantling the artistic conventions held dear by his mother and Trigorin who has seduced Nina. While Masha Shamrayev, the daughter of the stubborn estate manager Ilya, is courted by Simon Medvedenko the teacher, she pines for Constantine. Her mother Paulina asks to be whisked away by Dr. Yevgeny Dorn who is a family friend and physician to the elderly and ailing Peter. The humor lies mostly in subtext and the unpredictable emotional poles of every interaction, which is heightened by each character’s own self-importance. As the unrequited love in the various triangles is destroyed, they each must reinvent themselves or accept the lives their passion has dealt them.

Exuberant narcissism fuels The Seagull’s energy as The Classic cast portrays complex and intriguing characters reminiscent of today’s self-indulgent artistic elite. Director Allan S. Ross exhibits them as fascinating subjects who are as endearing as they are detestable. The set by Ric Slocum feeds into this voyeurism with floating gilded frames and a haunting yet enchanting backdrop of birch trees. A constant reminder for the country’s nature and openness, Rick Malone’s sound design juxtaposes the restlessness and dissatisfaction they each feel in their lives. The lighting by Pedro Ramirez readily sets the mood and highlights key symbolism throughout, including Richard Solis' title prop. However, Diane Malone’s costumes bridge the technical elements to the actors with breathtaking ensembles from head to toe, all period appropriate.

Leading the cast with an unparalleled mastery of manipulation was Kelly Hilliard Roush’s Irina Arkadina, possessing an alluring stage presence reserved for those with exquisite talent. Jonathan Pollei’s portrayal of Boris Trigorin perfectly complemented Roush as he bore the cross of fame and talent with poise and intrigue. Chelsea Dyan Steele as Masha, John D. Boyd as Simon and Catherine Babbitt as Paulina were all masters of subtext as they exchanged glances. Joe De Mott as Ilya, along with Michael Duggan as Peter Sorin, provided great comedic relief with perfectly timed interludes. Michael Holley played Constantine as a mix of Hamlet and Romeo and Julya Jara handled Nina’s arc with graceful melodramatics, both perfectly appropriate for Chekhov. Through it all, Andrew Thornton provided a constant and refreshing wisdom in Dr. Yevgeny Dorn, bridling the emotions of the others.

Perhaps The Seagull is Chekhov exposing the addictive nature of writing and performance, which begs the question if Trigorin’s compulsion to write mirrors that of his author. It’s entirely possible the script reflects the playwright’s own feelings about fame, acceptance, frustration with artistic conventions, and even life wasted. Whether it’s pitiful or eerie, The Seagull seems applicable even more today with the proliferating obsession with selfies and celebrities. Nina’s fate can certainly speak to the detrimental effect of fame on those incapable of obtaining or navigating it—just as the seagull circling the water it loves can never see the bullet coming to knock it out of its lofty position in the sky. Beyond the symbolism of the lake and the seagull, the play’s subject matter is timeless as it explores human nature’s inevitable need for validation, a search for self-preservation, and how to live a life worth living, whatever that may entail for each individual. Each character seems to embody a fear they are powerless to overcome.

A true ensemble, the entire cast of The Seagull at The Classic effortlessly mounted this passionately verbose and technically appealing production. The Classic makes Chekhov approachable, relatable and entertaining, a veritable feat over Russian literature for American audiences.


The Seagull will run at The Classic Theatre through March 6, 2016 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit classictheatre.org.

The Amish Project: A reflection on school shootings

by Jenni Morin

The Amish Project by Jessica Dickey exposes the residue tragedies leave in individuals’ lives with a frankness that is uniquely human. The AtticRep production, showing at The Tobin Center’s Carlos Alvarez Studio Theater through February 21, depicts the raw and stark reality a community must face as they are forced to find themselves in the aftermath.

In 2006 in Nickel Mines, Pennsylvania, a local milk truck driver opened fire in a one-room Amish schoolhouse, killing five girls and injuring five more all between the ages of 6 and 13 before killing himself. A national media story, the Nickel Mines shooting most notably showed the grace, compassion and ability to forgive on the part of the Amish people. Dickey’s script features fictional representations of people affected by the shooting, including the gunman’s widow, townspeople and shooting victims, all played by a single actress.

Sarah Gise excellently portrayed the individual characters in body and tone, exhibiting an enormous talent. The delineations between each individual were evident and the transitions fluid, while the gender of the male characters remained less obvious. Although some accents faded and mannerisms crossed as the final scene approached, the seemingly unvaried facial expressions were what kept the characters from coming alive. Director David Connelly highlighted the staccato moments of quick transitions and created time for the audience to digest some of the more poignant and thought-provoking lines. Altogether, the production felt seamless with a pace that made the subject matter approachable as well as affecting.

The technical aspects of the production helped define the characters as much as Gise’s voice and stance did. The lighting design by Tim Francis featured colors that evoked an almost visceral response to the characters they represented. Whether a pastel colored cyc, a distinctive pattern for texture, a shadow-casting television, or a sharply focused square spotlight, the lighting distinguished emotion from scene to scene. Furthering the tone of each scene were the sometimes light, often natural, mostly ominous musical selections and effects of Cole Wilson’s sound design. Of particular note was the evolution from light and carefree to dark and stormy during the pre-show, followed by chillingly deep strings and whispering winds throughout.

Dressed in a simple blue dress with white apron and bonnet, Martha Penarand’s costume design anchors the production, providing an opportunity for audiences to reset and truly consider how the lifestyle of these people has persevered their faith, innocence and, possibly, sanity. Along the lines of simplicity, Jeremiah Teutsh’s bare set, save for a sturdy wooden chair, confined Gise to an angular platform backed by a horizontally slatted fence—a nice metaphor for the seemingly random horrors the Amish see as part of a larger plan.

Whether it’s anger, grief, helplessness, fear or confusion motivating the response to tragedies like Nickel Mines, The Amish Project offers a means of processing the event and encourages a dialogue about society’s need to answer the why. Perhaps the relative pacifist nature of the script, lack of intense re-enactment, and media coverage saturated with shootings since has dampened how jarringly powerful The Amish Project was when it premiered in 2008. While today’s audiences may be jaded or numb, the messages still resonate.

All the elements of the AtticRep production of The Amish Project melded into an interesting study of human nature in the face of tragedy to create a graceful and engaging experience. In addition to a well-executed show, AtticRep encourages audiences to reflect on how these events shape personal and societal reactions and how changing those reactions can strengthen a community rather than divide it.


The Amish Project runs at the Carlos Alvarez Studio Theater at the Tobin Center through February 21 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m. Sunday. For more information and to reserve tickets, visit atticrep.org.

The Diviners: Simple yet Lingering

by Jenni Morin

The Diviners by Jim Leonard, Jr. may be about simple people, but the themes it explores delve into the depths of human nature, forces of nature and the natural cycle of life. The Sheldon Vexler Theatre delivers a lingering production that hints at these profound matters and bearing more weight in retrospect.

Travis Simpson as C.C. Showers, Isaac Oullette as Buddy
Layman, and Alexandra Eckelbarger as Jennie-Mae Layman
in The Vex production of The Diviners.

The Diviners, as the playwright notes, is about simple people with good intentions. Specifically, it zeroes in on a young boy, Buddy Layman, who has been psychologically and mentally debilitated by the death of his mother and his near drowning at an early age. While his father receives unsolicited advice on raising him and his sister cares for him without a life of her own, each character is very much a product of life in their small town in Depression era southern Indiana. When C.C. Showers, a former preacher, wanders into town, some believe their prayers have been answered, others notice his good looks, and the Laymans are happy to have someone to befriend and help look after Buddy who can predict the rain and is too afraid of water to wash. When Buddy develops ringworm, C.C. takes it upon himself to find a way to get Buddy in the water despite his protests.

Just like Buddy, The Vex’s presentation of The Diviners is a reflection of how something seemingly strange can be intriguing and beautiful. The staging by co-directors Dylan Brainard and Tami Kai feels disjointed and amiss at first, but gradually grows into a stylistic presentation, culminating in a much more affecting finale than if it had been presented without those peculiarities. The entire cast is a genuine ensemble steady in their representation of this unassuming community, although occasionally out of sync. Standout performances include Isaac Oullette as Buddy Layman, Alexandra Eckelbarger as JennieMae Layman, Laurie Fitzpatrick as Norma Henshaw, Chris Byrnes as Dewey Maples and Robert Moritz as Ferris Layman. It’s Travis Simpson’s portrayal of C.C. Showers that epitomized much of the quiet restlessness seeping from the script’s subtext.

Ken Frazier’s simple set of raked platforms, seemingly covered in dirt and framed by crates and barrels serving as seating and props, truly encapsulates the period. The most notable feature is the backdrop of water created by fabric strips in varying shades of blue, which serves as a reminder of the cleansing yet deadly element. The costumes were fitting and Yvette Oakes-Crabtree deserves a special nod for great attention to detail in distressing and dirtying the clothes and hat brims. Frazier’s lighting and Chad A. Miller’s sound design provided atmosphere and defined the scenes by washing the stage in blues and filling the space with nature’s cadence.

The Diviners supplies a medley of takeaways ripe for discussion. Its cyclical plot speaks to fate, nature’s rule, and religion’s role in shaping the inevitable. Almost as a character itself, water’s omnipotence grows as everyone tries to convince Buddy of its benevolence, only revealing Buddy’s omniscience about the element’s true nature. Minor themes of effective child rearing, resistance to technology and industrialization, appropriate relationships, and one’s true calling in life as it applies to work ethic help to round out the play’s commentary on humanity’s response to age-old questions of evolution, divinity and destiny.

The Vex production of The Diviners is an engaging and introspective theatre experience for audience members looking for a script to analyze as well as those just hoping for an escape into another time and place. Wrought with thematic gems, The Diviners delivers a deluge of analytical opportunities, while simultaneously yielding a simple and enduring story.


The Diviners will run at The Sheldon Vexler Theatre through February 28, 2016 with performances at 7:30 p.m. on Thursdays, 8 p.m. on Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.vexler.org.