The Actors Behind the Directors
by Sarah Teach
An eerie undercurrent runs through the darkened room that is presented naked by a curtain-less stage. The muscles in your legs grow a little tense as you realize that there is nothing separating you from the action. Without warning, a creepy John Shea emerges from the shadows. Meet Peter, the director, a classic Borderline.
If you’re unimpressed by the grungy, simple set, then congratulations; you’ve gotten the point. This play revolves literally and absolutely around acting. If you’re a theatergoer who appreciates the acting itself above all else, herein lies the perfect play for you. The intricately designed dramatis personae reveal the depth of playwright Nancy Hasty’s imagination. She has dug deeply into the human psyche in order to write a masterfully gripping creation. Her aptitude for forming the mentally unstable character succeeds in capturing and holding hostage the audience’s interest. You don’t want to get drawn into this disturbing story, but you can’t help it. You fall for the actors. They’re too good to let you loose.
Only slightly askew from Peter’s weird wavelength, we find Annie (played by Stephanie Cannon), the flustered, desperate, nearing-40 playwright who asks Peter to stage her work. The dynamic between Shea and Cannon is eccentric and emotional… exactly what Hasty envisioned. (Could it be because both actors are veteran guests of Sex & The City?) The visibly prim Sally (Sarah Zoe Canner) reminds you of that overachieving girl from your high school chemistry class. You know, the one who always liked to raise her hand a little higher than yours, and was so perfect that you kind of wanted her to fail. Fritz Michael is greasy and abnormal as Barney, and his ability to actually act the part of a dreadful actor is impressive. Bloated Barney is not the kind of guy you want crashing your next swanky soiree, but you may prefer the cool company of John (Mark Carapezza). The crazy energy exuded by Sarah Fraunfelder as Meg carries the show. Her wild appearance and cobalt eyes lend themselves to a feral look on stage; but if you look her up online, you’ll find she’s actually quite lovely. Regardless, you’ll have a tough time taking your eyes off of her.
And finally, we dissect the lead. John Shea knocks the breath out of your lungs. He also happens to be TWN’s current Artistic Director; and his brilliant performance at Centre Stage certainly supports his qualification as an authority on good theater. He is the deranged brute that was born inside Hasty’s head. Part of this undoubtedly has to do with the fact that he has vast experience in this exact role since the play’s 2000 debut and subsequent four-and-a-half month duration at NYC’s Off-Broadway Arclight Theater. Of course, this is a good tiding for us since we benefit from his perfected act. Additionally, TWN has reunited Shea, the original lead, with the show’s original director, Evan Bergman. See if you can pick him out; just scan the room for the dark, distinguished man who proudly watches from a row in the back.
Littered with f-bombs and graphic sexuality, The Director is not the show for family night. Thus, despite the superb quality of the acting, this play doesn’t shoot with the same audience-reaching caliber as most of TWN’s productions. It is supremely uncomfortable to watch—as it should be—but it’s nothing a post-show drink at Dune or Arno’s won’t heal. So if you’re in for a psychological thriller that has the capacity to shake you up a bit, hit Centre Stage (below the Methodist Church) at 8:30 p.m. on any Wednesday through Saturday and 3 p.m. on Sundays until August 27.
If you are in fact looking for a show the whole family can attend, TWN offers a fantastic alternative. Playing concurrently at 2 Centre Street is the world’s longest running play, The Fantasticks! Visit www.TheatreWorkshop.com for all dates and times, and to nab tickets before they’re all sold out!
