Festival veteran and favorite Joey Parsons takes on the epic role of Medea in the intimate space of Studio 112, as reworked by Allison Gregory in her Not Medea, a version that overlays Euripides’ tragic figure with a modern-day pediatric nurse who is desperately trying to keep her shit together. Called simply Woman in the program, Parsons portrays her with a flexible acting instrument imbued with yogic control.
While the play, with its fourth wall breaking worthy of early Stoppard, is generally effective in arousing our empathy for Woman’s loss (due to an ill-timed [self-inflicted?] distraction), it is on surer ground in its re-enactment of the old Greek tale. There are moments of magic conjured out of the mundane (body lotion from the shopping mall that becomes a shield of invincibility), and the rock-lined pool of water on Jesse Dreikosen’s set actually has a purpose—indeed, multiple ones (even though it is the cause of a scripted cleanup by the running crew).
Ben Chase as Jason provides stalwart partnering, while Rachael Balcanoff as Chorus nicely rides the text’s half-sung, half-spoken sections with a sweet singing voice.
Susan Miller’s 20th Century Blues is an insipid undertaking. Photographer Danny arranges a reunion of her three Boomer-generation friends for the culmination of a long-running group portrait project (cf. Nicholas Nixon’s photographs of the Brown sisters). Trouble is, she’s never arranged for her friends to sign release forms. The unnatural dialogue among characters who represent types, not real people, rarely rises above what OTC Leta calls a certain “scriptiness.” (Although nimbus-haired Kathryn Grody brings a little oomph to Gabby.) Imagine the leaden heart of Return of the Secaucus 7 further dragged down by discussions about paperwork.
- Contemporary American Theater Festival at Shepherd University, Shepherdstown, W. Va.
- Not Medea, by Allison Gregory, directed by Courtney Sale
- 20th Century Blues, by Susan Miller, directed by Ed Herendeen