ELEEMOSYNARY run dates 2/22/2008 - 2/24/2008 The Green Room Theatre, Rock Island ____________________________________________________________________________
The Green Room Theater’s latest production, ELEEMOSYNARY, is a show that was new to me, though I am familiar with other works by playwright Lee Blessing. It is sometimes refreshing to attend a show like this, where the unpredictability of an unknown ending means that big moments come unexpectedly – as they often would to theater newcomers.
What is completely predictable is the quality of the show. Yes, Blessing’s writing is generally quite good, but the real given here is the level of work done by Green Room, where every show I have seen is an excellent example of what theater can be.
While ELEEMOSYNARY might not be the best show produced so far by this young organization – which in the case of Green Room, is a pretty darn high standard to meet – it is still must-see theater. An emotionally-charged work that celebrates eccentricity in one small family, this is a drama that absolutely delivers on its promise.
The play centers on a champion speller, her often-absent mother, and her unusual grandmother. Echo, the youngster who can both spell and define the show’s title word (played by Abby VanGerpen), grew up living with her grandmother Dorothea (Susan McPeters) and is now caring for Dorothea, whose strong personality has been quelled by a stroke. Much of the story is told in flashback, detailing the relationship between the grandmother and mother (Artie, played by Angela Elliott), and outlining why the three generations relate to each other the way they do. It is a fairly simple concept, but the craft and creativity that go into it make this an outstanding play.
As Echo, who is also the chief narrator, VanGerpen does fantastic work. Her direct and absolutely authentic performance is the heart and soul of ELEEMOSYNARY, and her delivery – which ranges from pert to impassioned, depending on the scene – is spot-on every time. She plays Echo at various ages with ease (except perhaps when Bertelsen has her giggling way more than a three-month old probably would, but who, other than a finicky critic, can quibble with that minor detail?) and her many transitions in age and place are all handled with the smoothness of a pro. It’s a great performance that will have you eagerly anticipating your next opportunity to see this major talent at work.
Elliott’s performance is significantly understated, almost whispering at times, but she still turns in an emotionally devastating portrayal that is powerfully done. Artie has dealt with emotional traumas that make it impossible for her to adequately parent her daughter, and Elliott deftly peels back those complexities of depression in subtle layers. I thought some of the whispering was a bit affected, but she succeeds just the same.
McPeters, clad in a faux-gypsy getup that makes no sense at first (but later, you realize, is a perfect choice), is great as Dorothea. She lends the role a cheery nonchalance that is a nice balance to the other performances, and her character’s oddities are often amusing. Perhaps it requires actually having an equally adored and eccentric grandmother to fully appreciate McPeters’ performance – but even the rest of you will enjoy her work quite a bit.
Director Derek Bertelsen has used the Green Room performance space well, allowing the flight of stairs and piles of cardboard boxes to frame the action, which is really a mix of storytelling and conversation. Blessing’s use of spelling words and definitions to bracket scenes and even delineate emotions helps elevate this script to heights most playwrights never reach. These two talents combine with the three actors to make something very special.
It’s a moving and wonderfully realized work that will close way too soon, so get to ELEEMOSYNARY while you can.
