Thursday, April 10, 2008
Theater review: The Runner Stumbles
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Scandal involving the clergy is unfortunately not a new concept in story-telling, especially when the scandal involves deistic dalliances with the opposite sex. In fact, such scandals these days barely deserve an upraised eyebrow. Milan Stitt’s 1976 play The Runner Stumbles, offers an added plot element that goes above and beyond the everyday theological tryst. When the body of a missing nun is found buried in the garden of a priest, the question of guilt or innocence becomes the central vehicle that drives this piece. Along the way, the timeless schism of commitment to God versus commitment to self is broached.
Based on the true events of 1906 rural Michigan, the play opens with Father Rivard, portrayed by Corey Whaley, sitting handcuffed in a jail cell proclaiming his innocence. He stands accused of the ultimate trespass against God, the murder of Sister Rita, a vibrant and sensitive nun, played by Julie Osborne. Ms. Osborne’s effusive personality is in stark contrast to Mr. Whaley’s shell of a man, and a priestly man at that. Sister Rita is the child constantly testing the boundaries of the parental figure, Father Rivard. Is it just coincidence that he is referred to as Father and she as Sister? Perhaps that contrast is precisely Mr. Stitt’s point. If so, then the actors do a remarkable job of personifying this very common church dynamic, which transcends denomination.
Eventually, Father Rivard becomes conflicted in his feelings as a man with his loyalty to the church. A subsequent cover-up with the chief overseer of the diocese, Monsignor Nicholson, played convincingly by Ron Eubanks, starts the downward trajectory of both main characters and their relationship, not only with each other but also with God and Church. The fires of dissension are stoked further by Father Rivard’s housekeeper, Mrs. Shandig, oddly cast with Tina Kane. Though Ms. Kane does a fine job of portraying her characters fervent almost fanatical belief system, she seems a bit too refined and elegant to be believable as an illiterate housekeeper.
Aside from the theological aspects of the play, the central question remains, did Father Rivard murder Sister Rita? The resolution comes slowly paced in the form of courtroom scenes that are hardly suspenseful, despite the efforts of Gary Anderson as the defense attorney and Jarod Warren as the prosecutor. Mr. Anderson, however, hands in one of the best performances of the play. The self-deprecating character of Toby Felker underscores Mr. Anderson's restrained interpretation of that character. However, the drama doesn’t have an opportunity to build because of the constant scene changes, as well as wardrobe changes which, by the way, take place in full view of the audience. Such is the case with several other pivotal moments in the play which come and go in such a way that there is no building of anticipation. Rather than thinking, “Well, here it comes,” you find yourself saying, “Well, there it went.”
From a technical standpoint, the stage was just a little too busy at times. The set is comprised of six “mini-sets” that the actors were constantly walking in and out of. The program credits Mark-Brian Sonna as Choreographer and since there was no dancing one can only assume that a choreographer was needed simply to get the actors to the different parts of the stage. Unfortunately, it was not the poetry in motion that I normally associate with good choreography. The changes were at times cumbersome and distracting. The set design presented major sight-line problems and during several scenes, one character would totally obscure from view the reactions of another character.
Overall it was the work of the actors that made the experience pleasant despite the many issues with other aspects of the production. The Runner Stumbles is presented by RoverDramawerks and runs through April 26 at the Cox Building Playhouse.
Pegasus News content partner - North Dallas Gazette
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Comments
BobS Anonymous
Yup! definitely a good time... well, ok "good time" and "drama where people die" don't really mix. Anyway... I agree, some strong acting and a good show.
5 months ago ( Link to this comment | Suggest removal )
Mark-Brian Sonna Verified
As the choreographer I must speak on my own behalf. If the reviewer is unsure as to where the choreography is he should have inquired and not guessed for he has guessed incorrectly. He is crediting me for the work I didn't do! I do not wish to indicate where it is that the play is choreographed or I would let the cat out of the bag on this one and ruin the suprise for the audience. Here's a clue: Choreography doesn't always indicate dancing, it also indicates staging of a momentus event on a stage. As a matter of fact, since he was unable to figure out where the choreography was, that means I did my job superbly for it seamlessly fit within the action of the play! Thank you! Mark-Brian Sonna
4 months, 4 weeks ago ( Link to this comment | Suggest removal )
MarieChapelle Anonymous
I saw this play, and quite frankly, this reviewer doesn't know what he's talking about. The play moves seamlessly among all the different scenes, the acting is nearly flawless, and the only thing I would want to change is to be able to see it from all three sides. Which begs the question, has this guy ever SEEN a play on a thrust (i.e. 3-sided) stage before? Based on his comments, I doubt it.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Jason Rice Verified
Hmm, in this "new media" if the choreographer can weigh in, so can the director. If you want to see the choreography, you have to show up at least an hour early. They run it at least once before every performance.
Also, when allowed to review a preview performance, it's standard courtesy to say so.
J.Rice
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
theatregal Anonymous
I think the reviewer was right on in every aspect of his review with two exceptions. First he was far too complementary of the overall production and second he neglected to comment on the horrible costuming. I mean come on, a nun dragging her crucifix on the ground, no wonder she was murdered! The priest wore a cassock where the collar was seen sometimes and sometimes not. The prosecutors collar looked more like a clown than a counselor. I had no idea they had "Dockers" in 1911 but I must say I adored the nuns manicure! As for the thrust stage, typically a true thrust stage is raised OR the audience is raised enough to see the show. A seasoned director will stay away from thrust stages unless he has very strong actors that understand that they must act for all three sides of the audience. MarieChapelle, you say you would like to see the show from all three sides, I think the reviewer just wanted to be able to see some of the production from at least one side. Choreography means dance unless that has changed in the past couple of years. I also am not sure where the "choreography" is and I don't believe that means that the person listed as "choreographer:" did a seamless job. I think it would be hard to know if there was choreography period as half the time all we saw were the back of the actors (and I sat center stage). If he is referring to the SLAPPING scene that is not choreography, that might in some cases be consider FIGHT CHOREOGRAPHY but would be listed as such in the program.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Mark-Brian Sonna Verified
Theatregal, thanks for your input. I've been working as a choreographer for dance and for theatre for 28 years, I've worked with just about every north texas theatre company doing "dance" choreography and "theatre" choreography. Perhaps the confusion comes from people who do choreography for musicals, and choreography for fights and are listed as such, I fall into the third category through I do the other two: stage choreography. Ever since I've been doing it I've been referred to in programs form Theatre 3 to Stage West to Teatro Dallas as simply a "choreographer" even when no dancing or fighting was involved. I'm brought in as a consultant frequently to aid in some scenes, to create stylized movements, fight sequences, compositions, blocking, etc. My goal be it for children's theatre, adult theatre, experimental theatre, etc. is to enhance the play and fulfill the requests of the director so as to incorporate the orchestrated movement to the blocking of the play. The fact that no one here has been able to peg where my choreography is means I fulfilled my duties quite well. There are two scenes in this play that are choreographed, and the inspiration was French courtly dances from the early 1800's. In fact any dancers out there who are familiar with this period of dance would probably recognize the movement in the scene as a courtly dance. The fact that the movement is done so that no one has picked it up means the actors are executing the choreography quite well, because the point in doing this was to create tension and not be obvious, this is not a play where they break out and dance! Oh, and I have worked extensively in theatre in the round, I know my two scenes played to all three sides. I do find this open air discussion rather fun though. And I'm tickled that no one can spot my work. If you want to see my work in full tilt swing go see Dante:Inferno (http://www.danteinferno.net). This play is one hour and forty minutes long with almost non-stop choreography, but guess what? no dancing! LOL.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Jason Rice Verified
Yes, when I think of Antiquated, I think of Mark-Brian. Just kidding. Now that the cat IS out of the bag, I confess. There are two crucial scenes where the characters are in terrain they have not been prepared for socially, spiritually or sexually. Courtly dance was the only solution. Confidence, fear, attraction, rejection, detachment and raw desire are all codified, even sanctified and architected in court dance and I needed that structure, separate and apart from the style of the rest of the blocking but hidden to heighten the stakes of the scenes. Mark-Brian was even able to integrate a small mythos and vernacular of gesture and posture I had intentionally used throughout to weave himself into the fabric - Brilliantly. Thanks Mark-Brian... but curse you for spilling the beans ;o)
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Scott Doyle Verified
Geeeeeeeeeeeeeeeeeeez
Please see my notification to the world regarding lack of line breaks.
Thanks, and have a splendid day. =)
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
MarieChapelle Anonymous
Okay, like that last comment had ANY relevence.
(LINE BREAK)
Theatergal, based on your bitterness that came out of freakin' nowhere I'm inclined to think there's something else going on here. What's your problem?
Stuffguys, I love that you're keeping it pro!
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Mark-Brian Sonna Verified
thank you for the comment MarieChapelle. Jasonrice, I don't think we have let the cat out of the bag...this discussion about courtly dance and choreography won't mean much to anyone who hasn't seen the play. Once they see it they'll understand now that they are armed with this knowledge, but you and I did not give away any key plot points here. Trust me, the story is a doozy and the twists are unexpected.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Carol Rice Verified
I've seen the play a couple of times now (I'm the director's wife) and if I didn't know where the choreography was, I wouldn't be able to tell, so I agree with Mark-Brian - you're not giving away any trade secrets. :)
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
theatregal Anonymous
No bitterness just my opinion of one show!
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
RedFox21 Anonymous
Whoa...of the 12 comments 10 are from the director, choreographer and spouse and one very obvious hanger-on. Dudes get a life!Mention of the choreography was only two sentences of the entire review. And frankly I don't think any of you are as smart as you think you are or you'd be on freakin Broadway instead of spending "28 years in north texas theatre"! Hey StuffShirt...if you're that thin skinned, why are you in even theatre? First you take exception to his review then you ask him to review your show (PATHETIC! are you that hardup for exposure?) then you end by thanking him...SCHIZO!
I saw this play and didn't much care for it. I pretty much agree with the reviewer. And I do know this much about theatre..."blocking" doesn't BLOCK the audience from seeing the actors. If I can't hear them or see them...then all the self congratulatory banter among yourselves doesn't matter. Doesn't take a theatre genius to figure that out.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Jason Rice Verified
RedFox1, theatergal, use your real names here and if you bought your tickets online or have your receipt, I'll refund your money immediately.
Jason Rice
VP Production
Rover Dramawerks
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Mike Orren Staff
For what it's worth, RedFox21 and theatregal are posting from the same IP address. That means it is exceedingly likely that they are posting from the same location.
I appreciate Jason, Carol and Mark being transparent about their affiliation with the show. That gives them a lot of credibility in my book.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Gwen DuVal Staff
I just saw this production and this is what sticks with me.
We all struggle with the questions of God, faith, church, and our individual relationship to all of the above. And these questions are fascinating because they are eternal and face us all.
As humans, priest, nun or not, we all struggle with the present, are haunted by our past, and either hope or despair of the future. And even as a non-Catholic, the relationship between a priest and a nun still makes me squirm in my seat. I'm pretty sure even in our jaded, contemporary society, this is a big no-no.
Want to see those conversations you have in your head portrayed on stage by actors who make you believe what you are seeing, go check this out for yourself.
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
thespiansdoitonstage Anonymous
have to say, interesting that a little controversial play like this would garner so much controversy in real life. i recently saw this show and i have to say that i was remarkably surprised. with such a difficult stage, blocking, and transitions, the actors do a double-fine job of working in the space. not to mention, they were actually believable, not a common trait sometimes. theatregal & redfox, if you have nothing to do but create a fake and very tired attack at the other people involved in the very industry you claim to be involved with, then i feel very sad for you. to jason and mark, great work, i did not notice the choreography until it was mentioned here, but it makes sense. and also, to the people on the same computer, a simple statement: if you think you can actually do better, if you think you know better, if you think you can make something better, why aren't you the one doing it?
henceforth, don't bite the hands that feed you. great show, keep them coming! i'll try to catch it again!
4 months, 3 weeks ago ( Link to this comment | Suggest removal )
Jeremy Dunck Staff
I saw this last night. I thought the whole production was well done, though I agree scene transitions were sometimes problematic.
The space is small for the dynamic set, and I thought the group did very well within the constraints.
One costuming note-- the red dress doesn't go well with Osborne's hair. :)
The acting and direction was very good. I thought the opening scene was a little shaky, but it quickly improved. In particular, I enjoyed the performances of Anderson, Whaley, Osborne, and Eubanks.
Overall, a nice night out. It'd be a little easier to make it on a weeknight if it started earlier, though.
4 months, 2 weeks ago ( Link to this comment | Suggest removal )
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