By Genesis Eve Garcia
This weekend, Front Row Reviewers went to see an enigmatic and enchanting production of The Melancholy Play by Sarah Ruhl, produced as a part of Wasatch Theater Company’s 25th anniversary season.
First of all, I absolutely loved sitting on the front row for Front Row Reviewers at the new Mid Valley Performing Arts Center. It is chic and luxurious, and I am so happy that Wasatch Theatre Company is bringing their productions to this fantastic new home. As I walked in, I was delighted with the architecture and the space. I wasn’t sure what to expect as I arrived. I loved the French music playing in the background. As the play began, the actors exploded onto the stage with energy and intention. Absurdist theater is hard to define. It’s absurd. The only way it works, for me, is if the actors genuinely believe in every word they say, and every move they make. In this way, instead of sitting outside of their absurdist drama, looking in and judging, we fill in the absurd blanks, give meaning to the meaningless, and draw shapes and conclusions out of thin air. We acclimate to the absurdity, and discover very tangible truths along the way.
Ariana Farber as Tilly believes in every second, every single moment, and she warmly welcomes us into her world. I found myself falling as deeply in love with her melancholy heart as everyone else on stage. I never realized being melancholy was such an act of seduction. The very act of feeling things deeply enough to allow the melancholy to resonate is so beyond the everyday apathy and forced cheeriness; it is enthralling. Tilly is almost a combination of Lucy and Sally from You’re a Good Man Charlie Brown. She is all knowing like Lucy, and mischievous like Sally.
Barrett Ogden as Lorenzo storms the stage with love and humor. He is the quintessential feeling European analyst. He is too much for Europe, too little for America, and just right for the stage.
One of my favorite moments is when Frank, played by Amona Faatau and Frances, played by Sam Torres, recite their lines in perfect synchronization, standing in frames hanging from the ceiling, (set design by Jonah Ericson and lighting by Riley Merrill). Their words are almost the same, the rhythm, pattern, and presentation are identical. It was like listening to a song, but more exciting.
The little details, a movement here, a look across the shoulder, through the frame, a frown, a turn–all of it meant something. Everything was chosen to express a specific feeling. Morag Shepherd’s direction was purposeful and playful. Joan, played by Ashley Wilkinson, is almost frumpy at the beginning, and as the story unfolded, she becomes this gorgeous, sexy creature, practically humming with desire. Frances’ hairdressing salon and Frank’s tailor shop become places of passion, simply because they provide opportunities for an accidental brush, a touch, a look, and so much more.
Cellist Alexandra Call expresses the musicality of melancholy. It is subtle and lovely. At one point, Frances climbs up into a nest in the sky and exists in another world, in another form, wrapped up in silks, floating above the other characters, while they work to rescue her in their own way. In another moment, the characters play “Duck, Duck, Goose”, and Lorenzo pats his friends on the head with “human, human, human” instead, and poor Tilly went a little “nutty” trying to decide which one of her friends in the circle would be her Goose.
The play is about a feeling. Instead of judging our melancholy, the words honor melancholy. I felt like my moodiness, my madness, my magenta moments were being honored and revered. I felt proud of my melancholy moments and my dark days. I left the theater practically skipping with pride at all the times I reveled in my melancholy. It’s a little strange that I would leave a play about melancholy so happy, but it’s true. There are only a couple more chances to see this strangely magnificent play.
Get your tickets now at wasatchtheatre.org and come see Wasatch Theatre’s production of The Melancholy Play by Sarah Ruhl at the Mid Valley Performing Arts Center, Studio 5400, at 2525 Taylorsville Boulevard, (just west of 215 and Texas Roadhouse on 5400 South, in Taylorsville. The show starts at 7:30pm with a 2pm matinee on Saturday and Sunday. The show only plays March 23-26th.
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