6/27/2007 11:49:00 AM Review: Congdon's and Winter's Key City children 'monstrous'
By DD Wigley, Leader Contributing Writer
Constance Congdon's play "SO FAR: The Children of the Elvi," and Key City Players' production of it, are simply monstrous, in both the mythological Greek and the "monster truck show" sense of the word. Of course, that also means "all too human."
Playwright Congdon, with a sharp eye and keen ear for the living relics of culture - whether archaic or post-apocalyptic, high or low or even pop - uses language and gesture loaded with references to ancient and post-modern mythologies to bravely create a jaded new world, rife with the politics of power.
Major kudos go to director Denise Winter, whose vision - to select this collaboration with playwright Congdon, the cast and crew for the Port Townsend community - has been realized creatively, boldly and beauti-fully.
Angela Amos, Nancy Muir, David Wayne Johnson, Caleb Dearing, Camille Hildebrandt, Brian Gilbert and Peter Wiant: These players are fierce and courageous, holding nothing back. Each is uniquely and thor-oughly expressive; all work together as a powerful corps to bring this world to vibrant, ironic and excruciating life.
The play opens on the day when Mama's prophetic dreams begin to come true, when her children's battles with identity - and against her - go ballistic, when their fears and hopes find form. We see all the intro-spection, acting out, brutality and tenderness such a day would bring in a story that's intelligent and earthy, poetic and hilarious, and wonderfully, endlessly surprising.
Even before the play begins, a whole new world takes shape via the set, a marvelously jumbled amalgam of junk. The exposition occurs mo-ments after the play begins, and continues naturally throughout "SO FAR" via various characters' constant storytelling - a tribal, ritualistic necessity when history is crumbling. We're already there with matriarch and family in their makeshift compound/backyard, where everything is of use, a casually precious treasure.
The action is alternately primitive, archetypal gestures and ordinary, even sterotypical postures and movements. All are deeply familiar. But what is most remarkable about "SO FAR" is Congdon's use - indeed, mastery - of language. It's rich and dense; there is much content, and the references and subtext seem endless. This could lead to boring, tedious theater, but with such strong story and plot and so much "forward mo-tion," instead this play is incredibly well-balanced.
There were a few verbal stumblings on opening weekend - inevitable perhaps in a play with this many words - but not one false step, never a drop in the energy.
The intensity of the actors, the play's world so well-rendered by set, lighting, costumes and makeup, and the perfect tone and timing pre-scribed by Winter make this the best Key City Players' production I've seen yet.
I'd love to quote favorite lines or phrases, describe the set (Brad Mace) in more detail, tell what the costumes (Erin McNamara) are made from. But this reviewer's credo is "no spoilers, only teasers," and I hope I have indeed tempted you. Go see this play right away, because you might just have to see it again. "SO FAR: The Children of the Elvi" is rich, intense, complex - and good.
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