By Linne Marsh
DSU Arts and Theater Department’s The Wake of Jamey Foster in St. George is the American Realism installment in an educational project for students earning their degrees. I have read a couple of plays rooted in American Realism but never seen a live performance. I strode into the intimate atmosphere of the Eccles Blackbox Theater with basic expectations, and I was pleasantly surprised by the high caliber of the production.
Written by Beth Henley and originally performed on Broadway in 1982, The Wake of Jamey Foster is set in a rural Mississippi town where friends and family gather to mourn Jamey Foster’s unexpected death. The mourners include Marshael, Jamey’s estranged wife; Leon, Marshael’s brother; Collard, Marshael’s sister; Wayne, Jamey’s brother; Katty, Wayne’s wife; Pixrose, Leon’s friend; and Brocker, Marshael’s love interest. Wayne and Katty attempt to bring a sense of decorum to the wake and burial, but they are thwarted by Leon and Collard’s back country ways. It is a play driven by grief and riddled with the comedic relief of unexpected reactions to family drama.
Under the direction of Michael A. Harding, the cast of this show does a beautiful job with a rather subpar book. Each actor delivers his and her character to the best of their ability, but the plot of the play lacks a definitive direction.
That being said, I was impressed by the range of talent embodied by the cast. Dusty Ravsten made me loathe Wayne, Avery Holt truly embraces the southern bell of Katty, and Rachael Murdock plays a tough Collard. Through all the emotions in the play, Mercedes Murguia’s portrayal Marshael is moving. Her monologue over Jamey’s pine casket brought me to the brink of tears. She is an exceptional talent. Supporting cast members: Izzy Rodriguez, Pixrose; Michael Bigler, Brocker; and Aaron Ullrich, Leon; help drive the action with their subplots. Rodriguez adds an element of humor to a rather somber subject. I enjoyed her portrayal of the broken Pixrose.
The family drama unfolds in the Foster’s humble home, which Chelsea Richards and Emma Daniels, co-scenic designers, bring to life with minimal but essential design and props. They balance the right number of props with audience imagination. The attention to minor details is enjoyable. For example, the dirt and grass that lines the base of the white fence of the stage creates the feeling of being outside on a porch. Another highly creative decision is the sheer fabric that blocks the “bathroom,” allowing the audience a view of the characters.Since men feel uncomfortable in discussing this with their physicians. purchase generic levitra If at all you are price tadalafil tablets looking for cheaper sources. It does not grow hair on a completely bald scalp; it tends to delay hairloss in such areas that are extremely reduced. viagra without prescriptions canada The terms and conditions unica-web.com levitra 10 mg and the clause mentioned on the label which is applied over the medicine. This is much better than having characters speaking from off-stage.
In addition to an impressive acting space, lighting designer Phil Haslom , and sound designer Michael Harding work in tandem to add the subtle ambiance of ushering morning and night with the appropriate sounds of birds and crickets.
Another major highlight of the production is the music. During the play, characters move through various stages of grief as songs play. There is no speaking, just simple action and the lyrics and music of the song that plays them through the motions. It is a unique way to explore grief and the distress felt in the dynamics of a family mourning a loss. The songs are by various artists, and they boost the emotions of each scene.
Bottom: Dusty Ravsten as Wayne, Avery Holt as Katty.
Costume designer Rebekah Romney helped bring the characters to life through clothing. Costumes play a key role in this production as far as distinguishing the characters’ natures, and also alienating the haves from the have nots. Particularly for Holt when she plays Katty, the product of a wealthy home, and her wardrobe reflects it.
While I may not be a fan of the book, the technical crew and cast of this production put forth a monumental effort to immerse the audience in the full experience of American Realism. Support DSU and expand your theatrical education by seeing The Wake of Jamey Foster. You might leave feeling better about your own family drama.
ADVISORY: Recommended 15+ years old due to occasional adult language and content/situations.
Dixie State University College of the Arts Theater Department presents The Wake of Jamey Foster by Beth Henley.
Eccles Black Box Theater, 225 South University Avenue, St. George, UT, 84770
March 21-23, 25, 27-30, 2019 7:30 PM
TICKETS: $1 – 10 DSU Ticket office
Contact: 435-652-7800
DDSU Theater Department Facebook Page
The Wake of Jamey Foster Facebook Event
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