Reviewed by Judy Richter
An upper middle class couple
visit their son at Camp Kickapoo in Maine and return to their New York City
home with their family dynamics drastically altered. That's basically what
happens in Anna Ziegler's "Another Way Home," receiving its world premiere at the Magic
Theatre in San
Francisco.
The
action starts in the present, when Lillian (Kim Martin-Cotten) and Philip (Mark Pinter) Nadelman describe that fateful
visit to their 17-year-old, Joey (Daniel Petzold). It smoothly moves to the past
when the events unfolded, but often returns to the present.
To
say that Joey is a difficult loner would be an understatement. Having been
variously diagnosed with conditions like ADD, ADHD and other problems, he's
sullen, rude, disrespectful -- all manifestations of anger and depression. His
behavior rouses his parents' anger, leading him to disappear for many hours. In
turn, his distraught parents become angry and upset with each other, causing
them to question their marriage.
Also
figuring into the action are the Nadelmans' other child, 16-year-old Nora (Riley
Krull), who has
stayed home, and Mike T. (Jeremy Kahn), Joey's camp counselor. Unlike Joey, Nora is bright and
outgoing, causing no problems. Mike T. is a quiet young man who provides some
valuable insight for the Nadelmans.
Running
about 90 minutes without intermission, the play is well cast with each of the
talented actors creating believable characters under Meredith McDonough's sharp direction. The standout
is Martin-Cotten as Lillian, the loving, concerned mother who is forced to
re-examine her own life as well as her marriage and family.
The
minimal set design is by Annie Smart, who also designed the character-specific costumes.
Lighting by Paul Toben helps define moods, while Sara Huddleston's sound design is subtle yet
specific, such as the sound of waves lapping against a lake shore.
Despite
the play's serious themes, it has some lighter moments. For example, Nora, a
huge fan of Taylor Swift, belts out parts of the country singer's hits to explain her
feelings. In keeping with the play's overall tone, though, the ending is
ambiguous as both Philip and Lillian express some regrets but seem determined
to forge ahead.