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| Mike Brooks & Leah Roberts in Gruesome Playground Injuries. Photo courtesy of Theatre [502]. |
Gruesome Playground
Injuries
By
Rajiv Joseph
Directed
By Gil Reyes
Reviewed
by Keith Waits
Entire
contents copyright 2012 Keith Waits. All rights reserved.
I
would hesitate to ever describe any artistic enterprise as “perfect.” That
there is a range of subjective response from a spectrum of viewers is reason
enough to discount such a descriptive. Yet there are times when a particular
achievement seems to so fully realize its intentions that one has to search to
find significant fault. This production of Gruesome
Playground Injuries, at least on opening night, seemed to be such an
animal.
The
two-character comedy utilizes an unorthodox structure that is often called
non-linear; it strikes me as a misnomer. Two separate chronological and linear
sequences of scenes alternate back and forth, revealing a singular relationship
between a man and woman that is entirely in contrast to any conventional notion
of a love story, yet details a more important and vital human connection.
Doug
and Kayleen are first seen as schoolmates, and then throughout the next 30-odd
years suffering simultaneous maladies. His are the result of foolhardy and
reckless actions in and out of sports; hers grow out of deep-seated anxieties.
One sequence follows the youthful relationship while the other picks up their
adult reunions, the two dovetailing in a conclusion satisfying for both its
feeling and restraint.
Mike
Brooks, one of the founders of Theatre [502], has of late been concentrating on
directing. But his re-entry into acting is a welcome thing indeed, as he brings
a ferocious drive and energy to Doug that is startling. He is very funny, but
also illuminates the deeper motivations with clarity. As his counterpart, Leah
Roberts’ work falls well within the high expectations we have come to place on
her. So if her work does not surprise as much as Mr. Roberts, it is only
because her remarkably consistent skill and determination are more immediately familiar. The two display good chemistry and are
playful enough in their interactions to make us envious of the good time they
seem to be having onstage.
All
of which is underscored during the transitions between scenes, which, even with
costume changes, are enacted entirely onstage by the actors. No stage hands
appear, and Mr. Brooks’ various applications of bruises, missing teeth, and
other injuries are assisted by Ms. Roberts. Such staging would seem to
undermine the emotional impact of the scenes; but, in fact, it has quite the
opposite effect. Director Gil D. Reyes even catalogs the changes in the
program – further calling attention to the device – going for broke in
highlighting the theatricality in a way that displays certain confidence in his
players to immediately discover the emotional core of each scene when the transition
is over. Overlaid with an exceptionally thoughtful soundtrack of contemporary
songs (credit to Sound Designer Scott Anthony), these
moments in-between function, collectively, as an important element of the
storytelling.
The
result is a fascinating exploration of human relationships that far outstrips
the exhausted romantic comedy format that is so common. Doug and Kayleen share
a connection that overcomes adversity and long periods where they are
out of communication with each other. There is an emotional understanding that
is only achieved over time and that they themselves only fully appreciate in
the play’s final moments. It doesn’t save them in the artificial manner of
cliché and stereotype. But it does manage to help them work through the bumps in
the road and keep persevering, which is a salvation we can all recognize.
Gruesome Playground
Injuries
August
3-10
Theatre
[502] in The Victor Jory Theater
Actors
Theatre of Louisville
Third
& Main Streets
Louisville,
KY 40202
502-509-1595
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