Theater Review: Veronica’s Room

by Mark-Brian Sonna of MBS Productions

Suspense and tension are not very easy to create on stage. Film usually has that advantage with the use of progressive cuts, edits, music, and camera angles, and therefore, dread can be induced. On stage, the audience’s eye wanders so it requires the script and the actors to create what film can do more easily. Veronica’s Room by Ira Levin currently presented by Rover Dramawerks succeeds.

The playwright Ira Levin has fashioned what is perhaps one of the most seminal films based on the combo emotion of fear and dread: Rosemary’s Baby. Like the film, Veronica’s Room plays on the audience’s ever increasing anxiety. Not everything is right, but you don’t know why, and as revelations are brought to the forefront the twists trigger an unbearable tension. Anxiety is induced in the audience by small and measured trickles until eventually the dam bursts and you are swept away with a flood of awe, disgust, unease, and fear. It would be unfair to outline even a modicum of plot in this review, for it is best to experience this lesser known play from start to finish. Suffice to say, you’ll be left reeling by the end of the show. Do not bring children to this production. While the language gets rough, it isn’t out of place. In fact it is much needed, it is the subject matter that makes this play adult. Depravity doesn’t even begin to describe it.

The production values are stellar. The play takes place in Veronica’s room, a room that has not been touched since the 1930’s. The designers have done a wonderful job of creating a room that feels as though it’s been trapped in a time warp. The costuming by Paul McKenzie is very effective, and all the detailed props done by Robin Coulogne create a feeling of familiarity but at the same time strangeness. The seating for the audience is on three sides which would indicate a very open staging, yet somehow it all feels very oppressive. Credit must be given to Lisa Devine for creating a feeling of claustrophobia even though there aren’t any walls to the set.

The performances are good. This is a very talented group. The only quibble, and it is small, is with Taylor Granlund’s performance as The Girl. As she discovers what is really going on, I had wished she’d pause more and let us catch up with her ever increasing terror. More non-verbal moments would have allowed the audience to go from empathizing with her unfortunate situation to sympathizing with her. Other than that, she effectively communicates the feeling of despair as everything spins out of her control. The Man played by Joe Porter is realized quite well. At first my impression was that he was overacting, to find out later that I was wrong – you have see the play to know what I mean. The Young Man as played by Abel Flores seemed too subdued at first, and like my initial judgment of Mr. Porter’s performance, I also later discovered that I had also erred. If at intermission you find yourself questioning the performances remember this: nothing that you see in the first act is what it seems.

The performance that rocked me was that of Terrie W. Justus as The Woman. This show belongs to her. She is cast against type but this is not a hindrance. Like a chameleon she so disappeared into her role, that even though I was sitting in the front row, I didn’t recognize her. This performance ranks as one of the best performances I’ve seen on a stage, and I’m not talking about this year; I’m talking about ever. Just remembering it has given me goosebumps. She is chilling, monstrous, and devastating. Her character will haunt you for days after the show has closed.

A caveat: I serve on the board of Rover Dramawerks. In order for me to review shows put on by them we are in agreement that I will be in a “black out” of all rehearsals, production meetings, or even gossip so I can make my judgments independently. As readers know, I’ve not always given Rover Dramawerks kudos for their work. This play deserves the accolades.

One thing to know as an audience member: during the intermission one of the characters never leaves the stage. It’s a bit off putting for the audience doesn’t know if they can get up and move around. It requires the patrons to step onto the set to be able to go the lobby. This little touch is magic. It makes for a very awkward and uncomfortable experience, which is only token emotion of what is to come.

Go see Veronica’s Room, it isn’t just a memorable piece of theatre, it is an experience.

The show runs through November 22 and tickets can be purchased online or by calling 972-849-0358.

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