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When & Where October 12 – November 2, 2024, evenings at 8pm Sundays at 2pm | Metro Theatre, 1370 S.W. Marine Drive. Director Bernard Cuffling Producer Bill Allman Set Design Glenn MacDonald Costume Design Catherine Rose Sound Design Stephen Courtenay Lighting Design Brad Trenaman Stage Manager Angeles Paz Latapi Reviewer Christian Steckler |
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Metro Theatre often has some surprises up its sleeve, and this production of The Woman in Black is one of those times. At curtain time, this long-running London play begins with the house lights still on when Bernard Cuffling begins the action, and his co-star, Daniel Merlo, comes from behind the audience to join him. The entire first scene is played, and then, the house lights go down, and relatively normal production procedures follow. Questions turn to understanding when it becomes clear that the opening scene has prepared the audience for the change in roles of the main character, Arthur Kipps, from the older man who had lived the experience to the younger man who would act it out…an example of the pleasantly surprising decision-making in the direction of the performance. Cuffling has managed to direct this spell-binding play brilliantly. With only two performers (and an occasional appearance by the mysterious title character) this is no easy feat. A large stage is a daunting challenge for two bodies to create fascination and close attention in an audience. The acting talents of both Cuffling and Merlo easily master this challenge. Cuffling’s many changes in character as other people involved in the action is smoothly handled in the simplest of changes in wardrobe and personas. He is to be credited with authentically establishing each of the characters he takes on. Merlo shines in his role as The Actor who will show old Kipps how to dramatically portray the experiences that have tortured his soul for so long. His mastery of the many emotions of a younger Arthur Kipps through the haunting experiences that he has endured is absolutely fascinating. His confident on-stage presence is riveting to watch. The production team is to be praised for making this play “work”. The sets are spare, yet sufficient to reward the use of imagination in the audience, as so eloquently put by The Actor in the opening scene. Costumes are appropriate for the times and places portrayed, especially for the several characters played by Bernard Cuffling. The real trigger for imagination, however, comes with the special effects, lighting, and particularly the soundscape. The haze that builds and fades throughout the performance adds eery suspense. Lighting focuses attention on action in the various locales, and is artistically and effectively handled - even down to allowing only the merest glimpses of the Woman in Black. The soundscape, especially, is brilliant in carrying and fleshing out the action of story. It is masterfully done. The Woman in Black is called “spooky” by some, “haunting” by others. Perhaps they wish to keep the mystery in it, and not reveal any of the surprises that build as the plot develops. Let it be said that all the mystery experienced and discovered by the characters throughout the play leads to a horrific and tragic end. To find out the circumstances and the end that they reach, make a point of bringing a friend or partner to see this noteworthy and worthwhile Metro Theatre production. You might want someone to hold on to, or a comforting hug at the end. © 2024 Christian Steckler |
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