Reviewed by Judy Richter
No stranger to the San Francisco
Bay Area after freelance directing for several companies, Loretta Greco has settled down to serve as
artistic director of the Magic Theatre. As such, she makes her directoral debut with a
practically brand new play, "Evie's Waltz" by Carter W. Lewis. It's an auspicious beginning
for both this gifted director and this thought-provoking play.
Erik
Flatmo's set
places the action on the deck of a home probably in East or Midwest, judging by
the bare trees in the background and later by a reference to poison ivy.
(Poison oak, rather than poison ivy, is the problem in California.) On the deck
are a gas grill and a metal table with four chairs. A sliding patio door looks
into a tastefully furnished room -- all indicative of suburban comfort. It's a
warm evening because the home's owners, Clay (Darren Bridgett) and Gloria Matthews (Julia
Brothers), are
getting ready to grill their dinner. As they do so, though, they're bickering
about the fact that their 16-year-old son, Danny (whom we never see), was
suspended because he took a gun to school that morning. Gloria is highly upset,
worrying about her son's future, while Clay seems less concerned.
They're
expecting the mother of Clay's girlfriend, who also was suspended because of
the gun, to come over for dinner to discuss the problem. Instead the
girlfriend, Evie (Marielle Heller), shows up in camouflage pants (costumes by Fumiko
Bielefeldt) and
says her mother was too drunk to leave the house. Evie also informs them that
Danny isn't in his room as they had thought. Instead he's in some trees uphill
from the yard, and he has a hunting rifle that her father left behind when he
deserted the family.
Along
the way, Evie also tells them a lot more than they had known about Danny. He's
a deeply disturbed youth, someone who endures bullying and teasing by his
schoolmates. She hints at Columbine-like plans. The title comes from the young
couple's love of waltzing and Danny's love of Johann Strauss Jr. In a chilling
scene, Evie dances with Clay to the music of "The Blue Danube" (sound design by Sara
Huddleston)
while York Kennedy's
lighting design views the scene as if through a rifle scope, with the cross
hairs zeroing in on each of the three characters. The tension continues to
build throughout the play as Evie reveals more information about Danny and
their relationship. Understandably, the two parents become more upset and
frightened both for themselves and for Danny.
Under
Greco's sure-handed direction, all three actors follow the play's emotional arc
beautifully. Brothers' Gloria undergoes the most profound change as her
deep-seated anger gives way to the realization of how much she loves Danny. Her
telling him so in a voice mail to him signals the possibility of hope for the
family. Bridgett has his own challenges as Clay, whose character has not been
as well developed by the playwright. Nevertheless, he finds a way to figure
into the play's potential resolution. Although Heller may be a bit too old to
play a teenager, she captures Evie's angst and anger as well as her neediness.
The
play touches on a number of issues ranging from dysfunctional families to the
agonies of being a teenager and of being a parent, especially in today's
violent society. I wouldn't be surprised to see other theater companies adding
it to their seasons. It's definitely worth seeing.
For More Information
Return to Home Page