Front Row Reviewers

Nov 23, 2019 | Theater Reviews, Utah, Utah County

UVU’s No Exit Will Hold You Captive

Front Row Reviewers

Front Row Reviewers

By Ashlei Havili Thomas

Utah Valley University’s Platform Series is the pet project of the UVU USITT (United States Institute for Theatre Technology, Inc.) and presents cutting-edge theater projects throughout the school year. No Exit, presented in the Noorda Center for Performing Arts, is no different, a piece of work not commonly performed that focuses on raw storytelling. The Noorda’s low-tech space allows for the elements and themes of the piece to truly shine. No Exit’s look at reality and naked angst makes this show stick not only in your memory but in your heart as well.

No Exit is an existentialist play by French playwright Jean-Paul Sartre. First performed in 1944, the play’s French title Huis Clos gives better insight to the premise of the show, which is a series of conversations kept “behind closed doors.” The entirety of the show takes place in what the characters have been told is Hell, where they are left in a room together. Adapted for an English-speaking audience by Paul Bowles, the play begins as, accompanied by the Bellboy (Anton Moss), the characters each enter the room in which they are to be confined. First is Vincent Cradeau (Nickolas E. Hofheins), who questions the Bellboy about the amenities, what type of torture is to be received, and other such details. Cradeau receives blithe answers and eventually settles down to wait for the others to arrive. Next is Inez Serrano (Kalee Doyle), who immediately sits down and awaits her torture. Serrano is not conflicted about being in Hell; rather, she grimly and bluntly faces her end. Last is Estelle Delauney (Jennifer Chavez), a socialite who repeatedly states that her being in Hell is a mistake. These people needle each other throughout the play, until their true characters and flaws are revealed. This story truly reflects the idea stated by Cradeau: “Hell is other people.”

Hofheins’s portrayal of Cradeau is unabashed. He wobbles between crass bravado and vulnerability, giving depth to an otherwise unlovable character. Likewise, Doyle’s Serrano is frank and demands the same of the others. She is vicious in both her seduction of Estelle and her demolishing of both Estelle and Cradeau in rapid succession. Chavez provides the most subtle of the character portrayals, all femininity, yet we see glimpses of the cruel, self-servient woman underneath. While Moss has the fewest lines and least interaction with the other actors, his presence is needed and delightful. Moss gives an added depth to the entire play and acts as a catalyst for the other characters’ unraveling.

The most obvious design for the show is Bradie Anderson’s costume, makeup, and hair design. Each character contrasts starkly with the other two, with all their costumes fitting into the time period of the 1940s and clearly showing their status in society. Each character’s color scheme and fabric lines also perfectly fit with his or her character and add dimension. While simple, Gavin Henry’s scenic design is well thought-out and deliberate. The skewed lines of the couches as well as the chosen colors leave the audience feeling off balance, setting them up perfectly for the nature of the show. Overall, Sam Kleyh’s thought process and attention to detail shine through. As stated by the cast and dramaturg in the post-show talkback, Kleyh designed the show to stick with the audience so they can continue to process and internalize the themes and ideas No Exit presents.

Located above the box office, the space is not hard to find. The play does deal with mature themes and has instances of stage violence and language. I would not bring small children to this show, or minors in general without major qualms. However, the relevant content and shorter run time of eighty minutes allow for audiences to explore sensitive ideas and advanced concepts in a bite-sized amount of time. This play will have you exploring not only the characters, but your own life as well, as No Exit envelops you, body and soul.

Theatre Arts Guild & UVU USITT Student Chapter, in Partnership with the UVU Department of Theatrical Arts, Presents No Exit by Jean-Paul Sartre, Adapted from the French by Paul Bowles.
Noorda Center for the Performing Arts, NC 785, Faculty Annex on Campus Drive, Orem, UT 84097
November 21-23, 2019 7:30 PM, November 23, 2:00 PM
Tickets: $3.00-5.00
UVU USITT Student Chapter Website
UVU USITT Student Chapter Facebook Page
No Exit Facebook Event

Front Row Reviewers

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