My blog was down the day I originally wanted to post this (August 13, 2012), so it was originally published on Facebook. But, I wanted to get the word out about a GREAT show, even if it's after the fact. Two Rooms was a must see EXPERIENCE!
Runway Theatre’s current production of Two Rooms is an enlightening, heart wrenching and an absolute must see production.
Two Rooms by Lee Blessing is a play that takes place, as the title suggests, in two rooms. One is a cell in Lebanon where Michael Wells is being held hostage by terrorists. The other is a room in his home in Washington D.C., which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal. In fact, the same room serves for both and is also the locale for imaginary conversations between the hostage and his wife, plus the setting for the real talks she has with a reporter and a State Department official. The former, an overly ambitious sort who hopes to develop the situation into a major personal accomplishment, tries to prod the wife into taking umbrage at what he labels government ineptitude and inaction. The State Department representative is coolly efficient, and even dispassionate, in her attempt to treat the matter with professional detachment. It is her job to try to make the wife aware of the larger equation of which the taking of a hostage is only one element, but as the months inch by it becomes increasingly difficult to remain patient. The play deals with the subjects of the terrorism and the government, the media, and the love of a husband and wife. Blessing’s play is poignant, thought provoking, and a masterpiece in and of itself.
Runway Theatre is a small, 100 seat theater in Grapevine, and the converted proscenium stage in conjunction with the intimate space is the perfect set for this production. Set designer Jordana Abrenica creates the walls of the room with sheer gauze-like curtains that can be opened or shut, creating feelings of isolation or openness as the scene requires. There are four chairs placed on the diagonals outside of this “room” where the actors sit and watch the scenes in which they have no dialogue. Within the room, there is only a simple mat and an occasional ottoman is brought in for the State Department official to sit on. The (appropriate) starkness of the stage allows the actors to fill the space with emotions and witty dialogue that will long ring in the audience’s hearts and ears. Michael Wells is an amateur photographer, and some of his images are displayed on these curtains in the form of a slideshow. Sadly, holes are appearing in the curtains, so from my vantage point on the right, most of the faces of his subjects were obliterated. The overall drama captured in the images was not lost, though.
Adam Adolfo wore many hats as director, costume designer, lighting designer and sound designer. Though no doubt it was a considerable time commitment, he unified the design elements with his overall directing vision to support the story as completely as any design I’ve seen on stage this year. The pacing of the show never once drags, and though the material is definitely meaty, he prohibits his actors from “milking” certain scenes too long while allowing silent moments to feaster. There are no costume changes for the characters, and they are in an array of tans and chocolate browns suitable to the role within the show. The lights were soft at times and with a subtle shift, the room would become harshly bright- and he even had them illuminate or conceal the actors in their four chairs as needed. Finally, as sound designer he was aided by the pre-recorded original music by Joshua Bradford. As music should, it underscores the story without detracting from it. It is also hauntingly eerie.
With only four characters played by four actors, everyone is a lead, but in this production, Alden Bowers Price as Lainie is the standout star. Never once in the two hour production did her emotion seem forced or the dialogue anything less than organic. Her expressive eyes and voice lent themselves to her innocence and heartbreak. When she cried, I cried- as did my theater companion. Playing her husband Michael is Sean-Michael Cohn. Though every bit as invested in his character, Cohn faced very different challenges- including spending most of the first act blindfolded. He walks with a limp and is handcuffed- all of which he plays subtly and effectively without over-emphasizing them. The story is not about his physical journey- it’s an emotional one. There are times when the emotions seemed force or a dramatic pause was just slightly too long, but overall, you begin to genuinely fear for his safety and want, more than anything, for him and Lainie to be reunited.
Melanie Swenson as The State Department rep, Ellen, uses her tall stature and deep voice to project an air of authority. As the story progresses, though, she expertly balances between being both a stone wall and a woman obviously caught between her duty and her empathy. Parker Fitzgerald is Walker, the journalist who wants an exclusive interview with the wife of this hostage- a wife who has been strangely silent throughout the ordeal. She allows him into her home, but does not grant him the interview he seeks for months. Fitzgerald plays Walker as kind but with a driving mission. IF, and let me emphasize IF, IF there is a weak link in the cast, it is Fitzgerald. I needed to see more variations, both physically and vocally as Walker arcs throughout the story. His anger seemed too subdued and his triumphant joy seemed forced. I wanted him to stretch to the far extremes while still remaining a believable journalist (level headed, observant, and determined.) This is a nitpicky criticism that disappears by the middle of the second act. As he and Lainie become closer, as they forge the “us against the world, to save Michael” bond, Fitzgerald completely embodies the role of Walker- to the point my theater companion and I were both vocal in our emotional responses as if he could really hear us. He is both a fully professional, detached journalist and yet a compassionate human being- not an easy trait in real life much more on stage.
Though the drama Two Rooms is currently competing with area feel good musicals and other typical summer comedies, it is the production I encourage local audiences to make the greatest effort to see. You will be a better husband/wife, American and most importantly, human being.
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Two Rooms runs at Runway Theatre (215 North Dooley Street Grapevine, TX 76051) August 10-19. Shows are Fridays and Saturdays at 8 with a Sunday matinee at 3pm. Tickets range in price from $12-$15 and can be purchased at www.runwaytheatre.com or by calling 817-488-4842.
Two Rooms by Lee Blessing
Director: Adam Adolfo
Assistant Director/Dramaturg: Jeremy Jackson
Stage Manager: Kristi Taylor
Scenic and Property Design: Jordana Abrenica
Lighting Design: Adam Adolfo
Costume Design: Adam Adolfo
Sound Design: Adam Adolfo
Original Music: Joshua Bradford
Cast
Michael: Sean-Michael Cohn
Lainie: Alden Bowers Price
Walker: Parker Fitzgerald
Ellen: Melanie Swenson
