By Tanner Tate
The play, Silent Sky, eloquently written by Lauren Gunderson, has been brought to my attention several times in the last year or so, taking university, high school, regional, and community theatres by storm, and consequently, I figured that I should see what all the buzz was about. I was not disappointed.
Silent Sky, first performed in 2015, tells the story of Henrietta Leavitt (Ali Dangel), an aspiring astronomer living in Wisconsin at the turn of the century as she leaves her family behind, particularly her sister Margaret (Robin Young), to pursue a career at Harvard studying what she loves more than anything: the cosmos. Upon her arrival, she is oriented by an awkward and lovable Peter Shaw (Cole Vigil) and put on a team with a feisty and massively intelligent Annie Cannon (Yesenia Beltran) as well as a lovable Williamina Fleming (Sam Beyer). Henrietta soon learns that this dream job may not be all she imagined it would be, as she realizes that this world of science is still a man’s world. She, along with the two other women, are in charge of charting the findings of the male astronomers, and while Henrietta is slightly bitter with her lot, she takes to it like a fish to water. Henrietta proves her worth as an astronomer, making notable discoveries while performing her mundane work. In the process, she develops a romantic relationship with Peter, and lives at Harvard for five years before trials in her family life force her to return home.
Upon her arrival home, she must face the reality that she has been completely out of touch for the better part of those five years, and a rift has formed between her and the family she was once remarkably close to. She elects to stay another five years with her family, to assist in caring for them, while receiving packages from the university full of new star maps that need charting, allowing her to continue the work that is so dear to her. After returning to the university, Henrietta realizes that while many things have remained the same, others have changed drastically, including her health, which as taken a turn for the worse. Henrietta, who has spent her entire life working tirelessly to achieve what she dreamed of doing as a young child, must then look back at what she lost in that journey, as well as what she gained and the monumental discoveries she made, and pose to herself the question: Was it worth it?
After I entered the theatre and picked a comfortable red seat on the far side of the tennis-court style arrangement, I took stock of the setup that Set and Lighting Designer Charlie Monte has crafted. An abstract tableau of both warm and cool colors blankets the center of the cozy stage, the work of painter Connor Bond and his crew. Work lights dangle at various lengths from the ceiling, symbolizing the stars. Other black-and-white abstract canvasses adorn both sides of the stage, which I later realized to be maps of stars. Soft lighting sets the mood as the show begins.
Dangel’s Henrietta is fun to watch as she grows as a human both physically and emotionally. In the beginning, as she departs for Harvard, she is excited, enthusiastic, and almost bubbly with eagerness. Through her journey as a character, Dangel exhibits her acting skill as Henrietta gradually comes to terms with her part of the story, closing with her interacting with the world in a somewhat calm manner, accepting some of those things that she cannot change; something that seems impossible at the beginning of the story. Dangel enters the stage in black and white clothing, which is in stark contrast to the earthy and flowing colors adorned by the rest of the characters, setting her apart from the cast in the best way, to costume designer Lindsay Frost and advisor Cherylene Rosenvall’s credit.
Margaret, portrayed by Young, is one of the more tragic characters of the production, though Young is able to keep the spirits of the audience high by refusing to wallow in the negative emotions of the character, and choosing instead to sport the confidence of a woman who must rise to an occasion: the disappearance of her sister, and one of her few support systems. The most memorable moments of Young’s performance come when she is writing letters to Henrietta, away at Harvard, and portrays a remarkably human interpretation of longing. Anyone who has truly longed for a sibling who has chosen a different path can relate to Margaret Leavitt, and it is apparent that Young understands her character profoundly.
Beltran’s Annie Cannon and Beyer’s Williamina Fleming are arguably the two most lovable characters in the story. The dynamic duo is rarely seen on stage one without the other, and the most boisterous laughter through the myriad of humorous encounters and jokes is created during the interactions between Annie, Williamina, and whomever they are fortunate to share the stage with. These two women are nothing short of legendary in the astronomical community, and these women present their stories with grace and respect. Through the course of the show, Annie becomes involved in the suffragette movement and shows the progress of the movement throughout the years. Conversely, Williamina proves that there is nothing wrong with sticking to what you know. The two stay close friends regardless of these differences, and that is apparent to the credit of the actors. Beyers also conveys a believable Scottish accent, which was a nice touch. Together, the two women bring a glimmer of humor into an otherwise drowsy workplace.
Another lovable character in the show is Vigil’s Peter Shaw. Peter is an awkward human being, and Vigil creates the character very well. From his first uncomfortable encounter with Henrietta, to his sudden proclamation of his love for her, to many other significant changes in his character over the years, Vigil breathes quirky life into a footnote in history.
A show as visually pleasing as SLCC’s production of Silent Sky is not possible without an impressive lineup of designers. Because the show is produced by a college, the production lineup includes professional designers as well as interns and students. Led by Zac Curtis as director, the cast is very rarely in a position onstage that left anyone in the audience with nothing to look at. All movement was motivated and never seems out of place. Adding to the flow of the show is the work of Stage Manager Jess Edling, along with Assistant Stage Manager Jack Nielsen, who are no doubt the fabric holding the backstage aspects of the show together. Greg Caputo takes charge of the technical aspects of the production, and has created a cohesive tableau of beauty through sound, light, and set. A subtle yet appreciated sound design was crafted by Michael Fewkes, and working tirelessly behind the lighting, sound, and electrical boards is Megan Edgar, Steven Nordfors, and Austin Davis, who each wear many hats behind the scenes. The hair of all of the women in the cast fits the time period, and is designed by Stephanie Chatelain and Jason Sin. Onstage, all of the props used by the astronomers are surprisingly authentic and believable as true instruments of astronomy, thanks to Prop Designer McKenna Hockemier.
Salt Lake Community College’s Silent Sky is thought-provoking and profoundly moving as it takes us on a journey through the cosmos and gives us reason to believe that although we are tiny individuals in something mind-numbingly large, we are still a part of it. Perhaps, just because we do not understand something does not make it untrue. From a humorous beginning to a beautiful ending, Silent Sky will help you to understand, in our sciences, in our relationships, and in the way we interact, why we measure it all in light.
Salt Lake Community College Presents Silent Sky by Lauren Gunderson
Salt Lake Community College Black Box, 1575 South State Street, Salt Lake City, UT 84115
November 2-3, 8-10, 2018 7:30 PM
Tickets: $10 General Admission
Contact: 801-957-3322
Silent Sky Facebook Event Page
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