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My main criticism of previous Edge Projects had been uneven pacing and acting: not so this year. This year's production blows the other two away. The writing has always been the best part of the show and this year is no different. In fact, the writing and production values have also jumped a big notch.
It used to be I had to remind myself to temper my reviews with the knowledge that this was a workshop recital, not even community theatre. That notion had also been tossed. Playwright's Workshop has become a viable force to be reckoned with in the theatre community.
Like In Mixed Company, PWT has found there is an audience for deep, meaningful, good Theatre. Artistic Director Raymond Shurtz warned in the program notes that "...a contingency exists that seeks to make art a trivial form of entertainment..." A warm and fuzzy evening of "Friends" this is not. In fact, the main thread that appeared to run through each piece was more along the lines of Enemies: the tension of "Us Vs. Them."
The first piece, written by Jackie Marx, "Riding the Edge" was a slices of life on the "L." We saw prissy folks looking down their noses at the common folks and the common folks looking down on the blue collars and the blue collars looking down on the homeless. A city social peeking order, if you will.
The theme is more vivid in Joni Browne-Walders "Waiting for the Coastguard." This was a very 2 dimensional, yet very enjoyable, piece where Maria, played by Eva Neil, is drowning in the ocean and comes upon Linda Damita's Phyllis who is on a lifeboat. Phyllis contends that Maria has put herself in this situation and she will have to find her own way to "stand on her own two feet." We see this conflict daily at street corners with the well-to-do in their air conditioned cars pooh-pooing those annoying homeless people. "Why don't they just get a job?!" While relying on some easy puns and clichés, Eva Neil's performance made this one of the more memorable pieces of the evening.
"Third Party" by Matthew Karges was a strange look at nosy neighbors. The writing was well crafted, allowing the action to be revealed at a tantalizing pace. But Jim Gulliford as the neighbor was just amazing. His quirky mannerisms, eye flutters, and nervous mind were astounding to watch. Kudos also go to Shurtz who directed this gem.
Marilyn Allen, one of my favorite Edge writers, was back this year with "Mother's Day Present," a very touching short about a daughter and her invalid mother. The piece was staged with the mother sitting in a chair, vacant, with Sue Minto playing her voice. The last line where the mother reveals when she will die left the audience breathless.
Next, the all to familiar "crazy gunman" character was the focus of "The Quickening" written by Michael Glenn. Vincent, played by Edge alum Tony Trapasso, is surrounded by nervous ATF agents that are forcing him to surrender. It is an interesting look into the mind, although if there was suppose to be a point, I missed it. Glenn may want to rewrite some dialogue for clarity.
Another Edge old timer, Tom Dugan, offered another winner this year: "Tough Love." Just how far should parents go? Jim Gulliford returns as Frank, a father that at first glance appears a bit overbearing, and we later find that he is just down right abusive. Newcomer (at least to me) Lauren Eiler as Liz, appeared a little stiff in her delivery, but Jim once again stole the scene. Anthony Nelson as the son was able to hold his own.
Shurtz's offering, "Flack," is a confusing look at the black Vs white tension that has been getting more and more confusing since the recent LA Riots and O.J. Simpson fiasco(s). Not taking sides, Shurtz presents us with everyday people being forced to face the ultimate of Us Vs. Them; a citizen's civil war. Who is right? The liberal nurse that doesn't want to hear the trucker rant on about his love of bloodletting, or the trucker who isn't afraid to "call a spade a spade." There are no easy solutions, and there are no easy answers offered by Shurtz.
Jackie Marx returned with "Gospel Beacons", a sickening tale of a doctor forced to kill a perfectly healthy, though obviously mentally ill, suicidal young woman because a gangster wants to sell her organs for profit. Jim Gulliford is funny as a Joe Peshi sound-a-like but not fully fleshed out. in this piece. While it is implied that the young woman might be the Doctor's long lost daughter, the ending is convoluted.
AARO's own Mark Turvin, also the dramaturg-in-residence for PWT, takes the honors of most powerful piece of the evening. "Stained Glass" is a disturbing look at two 18 year olds that have habitually forced to stare at a stained glass window when their priest molests them. The dissociation, the anger, frustration, the pain the two characters experience is almost unnerving to watch, though the abuse is all presented tastefully. Big thumbs up to Mark for the beautifully haunting writing, to Eva Neil and Anthony Nelson for portraying the abused so honestly, and for Raymond Shurtz for the effective directing.
The evening ended with "Alpha" by Brenda Edwards. Here the Us Vs Them is again obvious. An umpire draws a chalk line down the center of the stage. The group on the right wear blue bandannas, on the left, red. The reds are barbaric but they owned the land first. The blues are more advanced, but want to eliminate the reds. While some lines were funny and the slapstick was comedic, the show ended on a strange note with the women crossing the line and the men starting a fight.
So, are Us and Them always to be at war, or is this merely a reflection of our times? In either case, bravo to the entire Edge staff, actors, writers, and producers for a very thought provoking, unsafe dose of Theatre.
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