Raconteur’s ambitious Flex Series offers dynamite in small packages. No matter which act you see, our reviewer, Krista B. Threadgill, promises that there’s something for everyone to enjoy for the next few weeks at Club Diversity, while it lends its stage to the Raconteur cast and crew for the second Flex Series. The Raconteur Theatre Company opens its second season with a new Flex series, making a change from the original format. Instead of producing two one-act plays, the company has challenged itself to put on seven short plays in one evening. Audience members have a choice: they can pay one price for a single act (made up of four short plays), or pay a slightly higher admission fee to see both acts (three short plays).
Negotiations and Love Stories: 2nd Annual Flex Series will be showing at Club Diversity (863 S. High Street) on Thursdays, Fridays, and Saturdays through June 6th. Act I starts at 8:00 p.m. and Act II starts at 9:00 p.m. Tickets are $6 for a single act or $10 for the entire series, and are available either at the door or can be purchased online at www.raconteurtheatre.com.
Joel Dickerson in “Plugged In” (Photo by Marianne Mess)
Act I: Less Realistic Look at Relationships Act I of this year’s Flex series opens with Plugged In where we meet Erik (Joel Dickerson), a college student who owns every technological device known to man, yet is unable to make any real connections with a real person. He sits in his messy apartment, trying to sneak cigarettes while his non-smoking roommate sends instant messages to his computer asking Erik not to smoke in the apartment. Meanwhile, Erik sends text messages to a female classmate, pondering the impact of each word with a great deal more care than he probably put forth on his last school term paper. When his cell phone rings in the middle of texting the elusive Angela, he has a brief conversation with his mother about getting a job—something he definitely doesn’t have time to discuss as he’s playing an online video game with a friend. As “plugged in” as Erik is, his disconnect with the world is palpable. Dickerson’s timing, thanks to Jill Ceneskie’s fantastic direction, is terrific, especially with only electronic beeps and rings for company on the stage. The play offers an entertaining glimpse into a day in a 21st century college student’s life. Next on the bill is Roger’s Beard by Jimmy Mak. In this short play, Claire (Allison Wheeler) waits for her blind date, Eddie (Sam Blythe). They meet under unusual circumstances: Claire wants to meet her married boyfriend’s wife, but she does not want to show up to dinner alone. As they talk, Claire discovers that Eddie has a few secrets of his own. Blythe’s timing is excellent; he never oversteps the audience’s laughter. Unfortunately, the skimpiness of Wheeler’s dress distracts from her solid performance. Perhaps a better costume choice would be wise before she finds herself the victim of a fashion disaster. Directed by Jason Speicher, the actors react well to each other and to the audience. Forever Again by Rebecca H. Jones finds Alex (Chad Hickman) proposing marriage to Blair (Jennifer Ntiri) as the ghosts of previous relationships break in on the scene to offer their opinions about the union. Blair’s ex-boyfriend Chad (Derek McGrath) and Alex’s ex-wife Diana (Anna Wang) stop the special moment between the two for their own twisted pleasures. The cast does a nice job with their characters, but the play itself is somewhat confusing. Only a very subtle lighting change indicates the switch from real time to ex-pontificating-time. An unfortunate missed mark late in the play causes some upstaging, blocking at least one if not two of the actors from the audience’s view for the right side of the room. Jill Ceneskie directs this more serious playlet. The first act rounds out with Jaclyn Villano’s Rockabye Bullet. During her engagement party, Melanie Falcone (Emily Mills) has locked herself in the bathroom with her fiancé, Joe Walker (Brent Small), so she can take a pregnancy test. Their reactions fluctuate from terror, to accusations, to relative acceptance as they wait for the stick to turn colors. Melanie’s mother, Rita (Heather Fidler), makes an appearance to talk about motherhood with her daughter. Aaron Einhorn directs this cast beautifully, orchestrating the natural ups and downs of a possible unexpected pregnancy. Mills is completely endearing as she moves through her range of emotions. Small offers an enjoyable portrayal of a blithering, panicky boyfriend. Fidler’s Rita helps to bring the meaning of parenthood home to the young couple with a sensitivity and wisdom needed in the midst of chaos.
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 (left to right) Emily Mills, Heather Fidler in "Rockabye Bullet" (photo by Marianne Mess) Act II is Fast, Light and Brilliant The second half of Raconteur’s Negotiations and Love Stories Flex series has a more mature and realistic flavor than the first act. This act deals with love as it almost—but not quite—starts, love after a long absence, and love as it may just be beginning. Act II begins with Fast, Light and Brilliant by Richard Martin Hirsch. A woman (Elizabeth Huff-Williams) stands alone on a balcony when a man (Robert Foor) joins her. They talk about the convention they have attended for the previous few days as they watch the fireflies in the field behind their hotel. They talk about their own personal relationships—he’s in an unhappy marriage, she’s in the process of getting divorced from a cheating husband—and their dreams for happier, more fulfilling lives. This lovely vignette gives the audience the impression of eavesdropping on a private conversation. Huff-Williams is fragile and strong within the same breath. Foor trips from subject to subject with his balcony companion, flirting with her all the while, but he is never boorish or overbearing—just a nice guy who got dealt a rotten hand in life and wishes for something more. The soft lighting and the music from the piano bar downstairs lend themselves to the atmosphere as Huff-Williams and Foor flit around the subject of love. Mary-Aileen St. Cyr eloquently directs these two talented actors through a moving piece. His Return by Percival Wilde explores how love keeps a marriage together through time, space, and thickening waistlines. John Hartley (Andrew Hartley) has been fighting in the war for the last three years and finally returns home to his faithful wife, Helen (Jill Ceneskie). Helen’s primary concern is to look exactly the same to her husband as she did on the day he left, but she discovers that three long years has taken a toll on her figure—she can no longer wear John’s favorite dress—and her face—there are worry lines there now that weren’t there before. After dismissing her maid (Mary-Aileen St. Cyr) and her young friend Sylvia (Sela Williams), Helen resigns herself to her fate. She greets her husband in a different dress and points out to him that it is his fault that there are lines on her face now. She waits to find out if John’s love can transcend the ravages of time —will he be more concerned about being close to her again than about a few wrinkles? Ceneskie is wonderfully convincing as Helen, and the supporting cast members give standout performances. Williams is particularly delightful as young Sylvia. James O. Johnson directs this picture perfect period piece, utilizing convincing turn-of-the-century costuming and props. Act II closes with Walking Distance by David Lewison as Angie (Shanelle Marie) sits down next to Tom (Sam Blythe) in a bar. After she blatantly propositions him, Tom suggests that they get to know each other first. Astounded, Angie reluctantly agrees to embark into frightening new territory: beginning a mature relationship instead of yet another one-night stand. Marie’s change from outlandish party girl to contemplative woman is a sight to behold. Blythe gives another top-notch performance with patient comedic timing. Johnson also directs this contemporary study on the fleeting quality of modern relationships. As Raconteur ramps up its second season, this young theatre company has lots of talent to offer to Columbus. Whether you see one act or two, it’s an evening you won’t soon forget. |
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Krista B. Threadgill spent her childhood following her parents around the Actors Guild of Parkersburg. After that, she wiled away her summers at Jenny Wiley Amphitheatre, and she has performed in two Neil Simon plays. She has an English degree from the Ohio State University.