Though the prologue is a bit reminiscent of the first scene of David Auburn’s “Proof,” after this highly unusual preamble we are brought back to reality in a drawing room drama setting. As each character is introduced to the audience the story starts to unfold. Each of these characters are well thought out and, though there is no sense of urgency driving the play, at least not early on (the old rule of thumbs is that you do not traditionally write about the day that nothing happened), the play itself tells a good story, something that playwrights occasionally forget to do under the guise of post-modernism.
Chris Collins’ new work tells the story of a family in a crisis partly of their own creation. The instigating event happens well before the lights go up. The audience watches as the legacy of that event creates havoc on the family. When something tragic happens some families come together, others fall apart. However, Collins shows this dichotomy to be fictive. Family units are units, yes, but they are made up of individuals and each person has his or her own response to tragedy. Each individual both comes together and falls apart at his or her own rate of speed.
Overall, the ensemble cast does fine job of keeping the story going. With regards to the actors, their strengths outweigh their weaknesses. Tina Gloss Finnell, who plays Eva, has amazing stage presence, to the point where she becomes the focal point in each scene, except for ones opposite Dennis Delsing, who plays John. With this, Delsing’s stage experience shines though. That being said, there were times that I felt that Delsing thought he was playing in a larger theatre space. Needless to say that the scenes where Finnell and Delsing played off each other were not only mesmerizing but sparks flew.
This is not to say that other members of the cast did not do a good job. Scott Hanselman, as Edward, did a fine job and scenes with Allison Donnelly, who played Tess, were quite strong. Donnelly, however, was a bit more inconsistent. She had some fabulous moments but there were times where her stage presence was less than stellar. It seemed that she was not quite sure what to do with her hands, sometimes they hung limp, having no connection with the rest of her. As for the actresses who played the two daughters and Brenda, Edward’s love interest, they help round out the ensemble cast but their characters were not fleshed out enough to the point where they added much to it.
Yet, despite these shortcomings I recommend this show highly. In fact, this production is a must see for anyone who enjoys intimate realism with a twist. The cast is strong, the story line is interesting, and it makes for a lovely evening (or afternoon) of cultural entertainment.
“Song of St. Tess” now playing though May 10th at the Secret Rose Theatre, 11246 Magnolia Blvd., N. Hollywood. $20
