Theater review: Boom at McKinney Avenue Contemporary in Dallas

by Lyle Huchton of John Garcia's The Column

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As the mismatched couple, Eric Steele and Jenny Ledel show their talent in physical comedy as well as perfect delivery.

It seems that there is always someone or something telling me what to do. "Think Green," "Just Say No," and even Facebook has joined in by their "Add as Friend" notices. So when I was assigned to review this play about the last day leading up to the end of civilization I was expecting another tree-hugging playwright telling me what I had to do in order to "Save the Planet." Trust me, folks, when the Universe has had enough of us humans, that will be it. Plain and simple. So I put on my best game face, and even a tie, and ventured down the street to The McKinney Avenue Contemporary (The MAC) to see Kitchen Dog Theater's presentation of Peter Sinn Nachtrieb's modern apocalyptic comedy Boom (playing through March 13).

Jules (Eric Steele), a geeky research scientist, has discovered that through the sleeping patterns of tropical fish that a giant comet is headed toward the earth. He is so convinced of his prediction that he has turned his research lab into a well-stocked shelter and has placed an Internet ad in search of a woman to help repopulate the earth. What he actually says he is looking for is "sex to change the course of the world."

He could not have asked for a more unlikely "Eve." Responding to his ad in an attempt to help with her own research for a journalism assignment, Jo (Jenny Ledel) has no intention in having sex with Jules, much less having kids. Unfortunately, her attempts to exit this nightmare are aborted by what is her sixth sense: losing consciousness when threatened by danger.

With the introduction of a third character, Barbara (Karen Parrish), we realize that we are not watching a play but have bought tickets to a museum exhibit depicting the events that lead to the end of civilization millions of years before. Barbara controls the action by a series of levers and switches from a control booth raised above the playing area. She also adds sound effects, lighting cues, and props to emphasize the plays more dramatic scenes and to help move the action along.

What director Christina Vela has done is not only assemble a Grade A cast but also coax an impressive collaborative effort from her design team.

I dread seeing what costume designers put up on stage when a play calls for modern costumes. Typically the "costumes" look like clothes the actor wore to the theater that night with no thought toward the character. How refreshing it was to see actual choices made by costume designer Korey Kent. Using several layers of clothing for the young couple allowed for broad creativity in the distressed versions they would later become. The costume for Barbara fought against the typical navy suit and white blouse that most would consider to be the museum guide uniform. Instead he softened her with a dress and vest. Then using a fine eye added just the right accessories. I knew and liked this woman even before she spoke a single word.

Bryan Wofford's set design had several tasks to achieve. It was to be research lab turned into comet shelter displayed in a museum setting. Using lots of white, glass, and metal, he created the feel of the research lab and the exhibit. All of these elements flowed together seamlessly. I was so fooled at first by the control platform Barbara used that I thought it was going to be used for the show's stage manager. Linda Blase's subtle lighting adds just the right amount of frosting.

As the mismatched couple, Eric Steele and Jenny Ledel show their talent in physical comedy as well as perfect delivery. Steele's more understated characterization is a nice contrast to Ledel's manic f-bomb laced hopelessness.

I am not quite sure how Barbara's story fits into the rest of this play but Karen Parrish is a delight to listen to and watch. She performs almost an interpretive dance to express herself when words escape her. The account she gives on her own conception is priceless.

As I left The MAC that night I had to stop off at the supermarket on my way home, completely forgetting that it was the night before Valentine's Day. As I watched people scurry around picking up last minute gifts of candy and flowers, I realized, undermining myself, what it was that Boom was telling me. In spite of all the looming predictions of doomsday, there is hope. We need to let go of what may happen and put our energy in what is happening all around us. And if it means passing out small tokens of our affection on a cold day in February to help battle that uncertainty and loneliness, so be it.

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