NO EXIT Sundown Collaborative Theatre

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Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson , THE COLUMN


Denton’s Sundown Collaborative Theatre once again succeeds in their mission of artistic fulfillment and thought-provoking nights of theatre with their latest production, NO EXIT by Jean-Paul Sartre, though in the end, it felt as if something was missing, at least for me. Though every theatrical aspect of this play could be described anywhere from good to excellent, overall, I just didn’t believe it. I didn’t believe the emotions, the story, the laughter, the memories, or even the furniture. It all gave me an illusion of an amazing experience in a studio theatre, but it fell just short. I didn’t like it, but I can’t articulate why. I recommend everyone see it. Welcome to a hellish review.

‘One man and two women enter a room in Hell. All expect to be tortured, but no torturer arrives. Instead, they realize they are there to torture each other, which they do so effectively, by probing each other's sins, desires, and unpleasant memories. Eventually, as their connection to Earth dwindles and the living move on, they are left with only their own thoughts and the company of the other two.’ (Taken from Sundown Collaborative’s website.)

Garcin is a no- nonsense reporter who enters the room first and asks numerous questions of his Valet- who also served as usher for the production. Inez is, in her own words, a bitch who readily jumps at the chance to torture her companions. Estelle is a wide eyed socialite who is extra perky, extra prim, and extra proper. When looking for three differing characters, there could be none more opposite than these. This play deals with many of the theories of existentialism and never once stops throwing philosophical curve balls- in many different forms- at the audience. This is not a “sit back and relax” kind of play. It’s a sit up, pay attention, take notes, and review EVERYTHING three times kind of experience.

Director Tashina Richardson knew the heavy weight of the material she presented her young troupe of actors and fellow collaborators with, and she did not shy away from bold, artistic choices. These choices are mostly rewarding. But, when each choice is added up, in the end, it’s almost a masterpiece.

Hands down, NO EXIT has the BEST pre-show/curtain speech I have ever seen. Each audience member is escorted by the Valet (or usher) one at a time into the silent and fully lit theatre and directed to a particular seat. You are told politely but firmly “You will sit here.” Your family and/ or friends are seated elsewhere. You are now seated next to strangers in hard, squeaky chairs. The audience is almost in the round, leaving just enough room on the north wall for the entrances and, well, there aren’t many exits. Every light on the grid is on at full intensity- and they never dim. The entire point of the play is that hell is being your true self in front of other people. (Sounds like some theories from a recent acting class I took.) Even the audience is made to feel uncomfortable in ways that just mount as the show continues. Once the audience was seated, The Valet’s curtain speech was simple, to the point, and oh so perfect. “Hell has no cell phones, intermissions, and contrary to the sign (pointing out the red EXIT sign.) no exits.” By the end of the one hour and forty minute show- without an intermission, though I only checked my watch once- you realize you have been sitting in hell with Garcin, Inez, and Estelle. They have been torturing you, and you have probably been torturing them. Torture isn’t always physical- it’s done with words, with revelations, with loud breathing, with squeaky chairs, and with a heat that the actors weren’t faking. It does get hot in that studio room! It is a true experience as only live theatre can give and it helps to carry both the storyline and the performances.

The language of the play is high and lofty, even formal with a hint of an English accent, but this production was in Standard American English. It could easily be done as a period piece, though (I think) it was done as a contemporary piece. This is another one of those uncomfortable things: when is this play set? After death, there is no sense of time- it’s all just eternity, and the lack of time specific costumes, props, sets, or hints within the dialogue introduce the audience to this concept. The costumes could have been from the 1940s or today. They were appropriate in fit and color to each character and had the layers that each actor needed to physically reveal as they did so with their words. The furniture, as described by the characters, was suppose to be Second Empire, but this was the weakest point of the design. They were just blocks with fancy cloth draped over them. It works, but on a “this is a group of very talented artists who are way under-funded” scale. The Redbud Studio Theatre is the perfect production room for this play. It is small, has only one exit, and was easily adapted to look like a sitting room or a parlor. I wasn’t watching through an imaginary fourth wall as three people in the living room of hell had this experience- no, instead I was sitting there, going through it with them. I, like Garcin, want answers and specifics to basic questions. Who, what, when, where, why, and how. This play, nor this production of it, answers those questions, and it is maddening. Then again, I was sitting in hell, so it works.

Each of the actors was secure in their lines and organic yet choreographed blocking, and each held a commanding presence on the stage. Valet and Assistant Director Christopher David Taylor was quietly charming yet demonic. He was the most complete, the most true, of all the characters. From the first greeting at the box office to the final pose (not really a bow) he never wavered from his purpose nor strove to be a scene stealer. He quietly yet adeptly supported the entire cast by setting the stage and answering questions as needed. He was only seen briefly after his initial scene to introduce the new characters into the room. Travis Stuebing as Garcin is tall with the look of a respectable, if not boring, business man. He carries himself as a proper gentleman should. (Obscure reference: He VERY much carried himself and made gestures in an identical way to the Gentleman of the infamous Buffy the Vampire Slayer silent episode, HUSH. This makes him also slightly creepy, appropriately so as is soon revealed.) Maggie Smith as Inez walked into the room and with her first line let the audience know exactly who and what she was- a bitchy lesbian. Estelle, played by Sarah Quiroz, was equally able to introduce herself completely to the audience in a matter of seconds. However, as the play progressed, the actors seemed stuck in these masterfully crafted first impressions of their characters rather than getting to the heart of their true beings. Honestly, I was intrigued by the stories of what had transpired for each of these while alive on earth and what they “saw” when the looked back to family, friends, and co-workers, but I never once believed them. They never “saw” what they were reciting about, nor was the laughter genuine. Especially for Estelle and Garcin- their bursts of laughter, especially in the end when they are standing revealed, were brutally forced. The masks the characters wear in the beginning were little different than the true self all this ‘torture’ was suppose to reveal to both them and the audience by the end. Perhaps the actors need to go deeper, go truer. For example, if a character is crying, then the actor needs to really cry or utilize another emotion. Don’t fake it, especially in such a small space. Also, the play calls for a couple of rather intense physical moments between Estelle and Garcin, complete with groping, kissing, and panting, but either the actors were uncomfortable or the characters were truly not in the moment. It was hard to tell- all I know is, these supposed highly charged sexual situations fell flat and rang hallow. Despite this, though, the actors maintained their focus on poking and prodding one another and I remained engaged in the performance for the entire time.

With NO EXIT, Sundown Collaborative Theatre succeeds in presenting its audience with a ‘thought provoking and discussion inciting’ experience, even if it is less than perfectly believable.




Sundown Collaborative Theatre presents Jean-Paul Sartre’s NO EXIT through May 15th.

Performed at The Redbud Studio Theatre located at 304 Administration Drive, Denton TX 76203 on the Campus of TWU in room 204. www.sundowntheatre.org

Jean-Paul Sartre’s NO EXIT at Redbud Studio Theatre, TWU

*REVIEWED 05/08/10 PERFORMANCE

Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Directed by Tashina Richardson
Written by Jean-Paul Sartre
Assistant Director: Christopher David Taylor
Stage Manager: Sarah Smith
Set/Props Design: Brittany Gavit, Devin Lennon-Davey
Costume/Makeup Design: Candace Cockerham

CAST
Garcin: Travis Stuebing
Inez: Maggie Smith
Estelle: Sarah Quiroz
Valet: Christopher David Taylor
Understudies: Bonnie McGowan, Kristen Ranna, Austin Struckmeyer

Originally pulished in John Garcia's The Column