TREEFALL

At some time in the perhaps not so distant future, after a series of “ecological events” has altered civilization as we know it, a trio of teenage boys have set up house in a primitive one-room mountain cabin somewhere in the Pacific Northwest. Despite the cataclysms that have befallen society, the “family unit” has somehow found a way to survive in Henry Murray’s Treefall, now in its world premiere engagement by Rogue Machine.  Though a post-apocalyptic nightmare fairy tale would not be my usual theatrical cup of tea, the performances of its talented, charismatic young cast, the contributions of a superb design team, and some ultimately moving, thought-provoking writing make Treefall an absorbing piece of theater.
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BEGGARS IN THE HOUSE OF PLENTY

What a difference a director and cast can make!  

When I saw a production of John Patrick Shanley’s Beggars In The House Of Plenty about four years ago, I found myself squirming in my seat waiting for it to end. I couldn’t make head nor tail of what was going on as the play got more and more bizarre and heavy-handed. My guest and I looked at each other when the lights went back up and said almost simultaneously, “Now what was that about?” Arriving home, I did some googling and saw that at least one reviewer had raved about the production, leading me to wonder what she had seen in it that my friend and I had not.
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STRANGER

The rock-based notes of an Ennio Morricone-like melody inform us that, once again, it’s once upon a time in the West.  The year is 1847 and the tiny Nevada town of San Lorenzo has been enslaved by a ruthless villain known only as Lagarto. Showdown time has arrived, and the town sheriff orders his teenage daughter Lucinda to get inside.  “You do it for Mama,” Lucy cries out. “You kill him for her!”  The sheriff looks the evil Lagarto in the eye and informs him, “This is your last chance.  Take your men and be on your way.”  “You look like a simple man,” responds Lagarto, “so I’ll keep it simple. No.” And with that, he shoots the sheriff, then his deputy.  Pulling out an enormous knife, he grabs Lucy and tells her, “I like you. I think I’m going to keep you.” Lagarto then proceeds to slit the sheriff’s throat with the knife until his blood is splattered everywhere.
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