For their sophomore effort, Artistic Director Damon Dering and his Nearly Naked Theatre have mounted one of the toughest, emotionally-charged plays of recent memory, Marsha Norman's Pulitzer Prize-winning 'night, Mother. He has brought onboard Director Gerald Thomson to craft the real-time action of the play. Resting squarely on the shoulders of actresses Joy Strimple and Melissa Freeman, this two-person show can bring tears to the eyes of marble statues. Unfortunately, a few odd directorial choices, and a weaker performance from one of the two women undercut the power of the piece. It still makes you cry, but the balance of power is tipped to one side, contrary to Ms. Norman's intentions.
Set in a small, lower-middle class house of undistinguished decor, an infirm mother and her sickly daughter spend an evening together addressing their losses and disappointments following the announcement by the terminally depressed daughter that she shall commit suicide at the end of the evening. As the mother attempts every tactic to avoid the finale, the daughter shows her resolve and proves a formidable adversary. This one hundred minute-long script is emotionally draining for both audience and actors.
Mr. Thomson has done well blocking the piece, although there are some extraneous moves, especially from Ms. Freeman, that stress the fact that these are two women in one small room bouncing off the walls. It is in some of his interpretations that questions arise. He has brought Ms. Freeman's level to nearly monotone. While it is important that her character remains level-headed and resolute for the production to make sense, he has reigned Ms. Freeman back too far. She is sometimes inaudible over the intermittent air conditioning, and chooses to internalize too much. Her biggest moment, when confronting her mother later in the play, is half the intensity it feels like it should be. As a result, the scales are tipped more towards the mother, a situation not intended by the playwright.
As the evening moves along, the niceties are stripped away, the inner-depths of these two women are plumbed, and a performer's mettle is tested. Ms. Strimple shines at this point. She is utterly believable throughout, and even more sympathetic than expected while playing this simple, persnickety country woman. She is always in the moment, never falling into the traps of cutesy or shrewish that the script could allow. Ms. Strimple is able to perfectly balance the hard-edged with the emotionally needy, while keeping her simple charm throughout.
The perfectly appointed set by Alicia Marie Sanderson captures the simplicity and futility of the women's plight. Chad Otto's lighting design is very effective, as are Mr. Thomson's sound design, and Rebecca Avery's accurate costumes. A special note goes to Dawn Conry and Jay Templeton for their properties design and set dressing, which is so crucial to this ultra-realistic show, and perfectly done.
It should be noted that the group Depressed Anonymous will receive part of the proceeds from the September 30th production. Despite the differences in interpretation, and the underplaying of Ms. Freeman, this is a wonderful show that audiences should see.
Production Details:
'night, Mother
by Marsha Norman
Nearly Naked Theatre
On The Spot Theatre, Phoenix
(602) 274-2432
September 13th - October 7th, 2000