By Bailey Loveless
At UVU in Orem for just two more days, A History of Breathing is being staged and to put it plainly, this thought-provoking piece about timely subjects will take your breath away. Upon entering the eXbox Theater, the audience finds that the setting for UVU’s A History of Breathing is a small, intimate space. It is divided in two, with about fifty chairs set up on one side, with a flat stage bathed in deep blue light on the other which immediately sets the mood for a post-apocalyptic, war-torn world that is rapidly flooding,
I haven’t had the chance to see much black box theatre, but it’s a type of theatre that’s been on the brain recently and I have been wanting to learn more about. It is for that reason that I immediately leapt at the opportunity to see A History of Breathing at UVU’s eXbox Theatre and was not disappointed. The staging works well for creating the show’s various sets, ranging from boats to islands to orchards. The different sets are created using simple, minimalistic wooden blocks in various arrangements, paired with effective props.
Jensen as Lilly and Brown as Andrew. Photo credit Kory McIntire
The storyline itself is allegorical, blending myth with reality, and centered around themes of war, sexual assault, and religion. Due to the metaphorical nature of the story in such an intimate setting, there is no place for the actors to hide. The cast truly has its work cut out for them, but the play shows just how talented they are both individually and collectively.
A History of Breathing begins with two boats aimlessly drifting on the sea. One vessel contains Toad (Kat Hawley), Muskrat (Sam Kleyh), and Turtle (Kalee Doyl), who count the stars while awaiting the arrival of a Messiah-like figure called The Woman. The other boat carries Andrew (Colt Brown) and his daughter Lilly (Rylee Jensen), who have narrowly escaped an attack on their village and are slowly starving to death while trying to emotionally cope with what they have experienced.
Brown has a wonderful gentleness and subtly in his performance as Andrew, the father simply trying to comfort and protect his daughter. Kley plays Muskrat sardonically, both likeable but also of questionable character. Doyl does well switching between her two roles as Turtle and God and distinguishing the two of them.
Hawley as Toad, Doyl as Turtle, Kleyh as Muskrat. Photo credit Kory McIntire
I was impressed with Drake Hansen’s performance in the role of Bobo. The role has no dialogue, but Hansen is able to communicate a full range of deep emotions with his body posture and facial expressions while still maintaining a distinguishable character. I also particularly enjoyed Ryan Hopkins as Kai, the antagonistic soldier, who in these terrible times has done unspeakable things. Yet Hopkins is able to bring a humanity to a very inhumane character and that portrayal is beautiful and powerful.
Jensen as Lilly has one of the most challenging roles because of the emotional requirements. Jensen does an impressive job bringing both strength and vulnerability to the role. One of the most powerful moments of the evening was when I was able to actually see the tears dripping down her face and falling from her chin.
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Also of special mention is Hawley as Toad. She gives a nuanced and energetic performance, and her character work is amazing. Hawley also brings some much-needed comedic relief, which is a tricky thing in a heavy show like this. Where the comedy could have easily become distracting, it is endearing and sincere.
The real magic is in the dynamic blocking by director Kory McIntire, paired with light design by Aaron Gubler and the sound design by Nate Lowry, which are complete perfection. The actors are well lit at all times, pools of light beautifully colored and placed to create the atmosphere for each scene. The lighting combined with the ambient, background noises creates vivid pictures of where the action is taking place in spite of the simple set dressings. All in all, I was amazed with the production crew’s artistry and strong imagery.
The run of the show is short, running from November 1-3. Admittance to the show is free and in lieu of ticket sales, the production team is hosting a fundraiser and a portion of the proceeds will be donated to RAINN (Rape, Abuse, & Incest National Network). Those wanting to attend should be aware of the script’s mature topics such as violence and sexual assault along with strong language. While I came in thinking the show was going to be more explicit than it was, I would still only recommend a mature audience, such as adults and teenagers.
Hopkins as Kai, Hansen as Bobo. Photo credit Kory McIntire
That being said, I highly recommend A History of Breathing at UVU, a strong, thought-provoking piece. You will return home as I did, discussing the symbolism and meaning of the play. I absolutely loved it and personally found it incredibly inspiring, making it an unforgettable theatre experience.
Utah Valley University Platform series presents A History of Breathing, By Daniel MacDonald
UVU eXbox Theatre Gunther Technology Building, 800 W University Parkway, Orem, UT 84058
November 1-3, 2018 7:30 PM, Nov 3 2:00 PM
Tickets: Free
A History of Breathing Facebook Event Page
UVU School of the Arts Facebook Page
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