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Lanford Wilson's Book of Days Joan of Arc was a woman warrior who went up against the church and its order, to find the truth to her pleas and questions. She only had to pay with her life to get those answers, but did she? Lanford Wilson's Book Of Days somehow gathers up religion, truth, and even Joan of Arc and creates a fascinating play that has facile plots, twists, and turns. Under the always resourceful direction of Terry Martin and James Paul Lemons, Wilson's dramatic yet often humorous play is given a radiant, intelligent area premiere by Watertower theatre. We are taken into Dublin, Missouri, which has a Pizza Hut, two malls, and even a community theater where they are about to mount a production of Shaw's St. Joan. Though this small "religious" town can easily resemble any town in America, it actually reminded me of my own hometown. The piece is filled with the every day people that these towns always seem to have. Wilson has molded such interesting characters that you see yourself being drawn into their world and their secrets. What I truly admired about Martin and Lemons' directing is the perfect casting. The cast not only possesses the correct acting craft and tools to bring their roles to life beautifully, but they look exactly as you would imagine these people to look. Michael Sullivan's set is stunning. The design is that of a long runway, with the audience on three sides, creating a pseudo church congregation later in act two, which adds even more to the play. The back wall is a greenish-gray color with various pieces of furniture, nic-nacs, etc. attached to it. David Natinsky's gorgeous lighting design complements Sullivan's set abundantly. Rich color hues bathe the cast, plus special gobos rain on them as well in various locations, such as an ornate stained glass design for the church scenes. Rounding out the design elements is Valerie S. Liberta's impeccable costumes; they fit each character's "theme" like a glove. Special kudos go to Curtis Craig's excellent sound design for the twister and gunshot effects. You actually feel like you're in the eye of a tornado, thanks to Craig's eardrum shattering sound effects and Sullivan's swirling light design of special gobos and various shades of green. Directors Martin and Lemons' blocking is polished and precise. The cast is blocked all over the thrust stage, include the ramps, stairs, and into the audience. I love the idea that the "director" of the play is constantly in the audience, really adding to evening. Martin and Lemons give the pace its proper mood, never allowing it to sag. They use blocking, pace, music, and lighting to change scenes and moods, but never let the audience get tired or fall behind. They do not allow the performers to become stock, paint by number characterizations which they could have easily fallen into. Instead, the directors keep them in natural, organic tones and method, thus giving the piece realism and depth. Giving one hell of a debut is Kelly Grandjean, an actress I hadn't seen before, but I'll say now that she has a new fan in me! Grandjean is Ruth, a bookkeeper at the local cheese factory by day, but an actress by night. She is cast as Joan, only to have the beliefs and life of Joan seep into her mind and soul. Grandjean is captivating on stage. She shows great compassion for what is happening around her. Her strong commitment to her character's arc, the center of her role, is marvelous to watch. When any actor lets go and actually cries on stage with honesty, it reflects a true thespian. Fake crying cheats both audience and performer. Grandjean never lets the audience down. She even handles the comedy woven into her character like a true pro. Hers is a sterling performance. Another actor who is new to me is Todd Terry as James Bates, the rich spoiled son who comes from one of Dublin's most wealthy families. Terry truly resembles his character, an older pretty boy who simply won't grow up and face his responsibilities. Terry gives a magnetic, tour de force performance that is both disturbing and wonderful to watch. The actor is dressed in a tailored business suit with starched shirt and tie. He resembles a particular kind of businessmen, the stereotypical professional men who live in the ritzy areas of the metroplex, with the great house, the prom queen wife, the 2.1 kids, who go to the 'right church.' But these are also the same men who keep the hookers, strip clubs and adult bookstores in profit. These are men who keep their sexual fetishes hidden behind their holier than thou wall, only to have them exposed, as seen time and time again on TV and the newspapers, and the end result is always traumatic. All this will make sense once you see Terry's characterization and dead on performance. Terry wears the subtext of his character that results into one hypnotic performance. Lydia MacKay is a true chameleon. Last season MacKay wowed audiences in Pride and Prejudice as the porcelain beauty who found true love. In this production, she has become one hot and sexy momma! Gone are the blonde tresses, now replaced with hues of fire red, and she is dressed in a short skirt and heels. Mackay gives her character the air of a tough gal who won't take crap from any man, but who also has a lonely heart beating underneath. You just cannot take your eyes off of her each time she enters a pool of light. Jane Willingham is Terry's mother, Sharon Bates. Dressed elegantly in a stiff, blue, two piece outfit with pearls and that perfect southern sprayed hairdo to top it off, Willingham's character walks the fine line of being so sweet, but also snotty, nose in the air rich grande dame. Willingham wins your heart, but then later fools you in her actions and motives. The actress has a heartbreaking scene in the piece, with tears glistening in the stage lights, but then goes back into the southern, rigid status world that Sharon lives in. Hers is another eye catching performance in the large cast. The entire company is sensational, including Steven Pounders as Reverend Bobby Groves, Pam Dougherty as Martha Hoch, Carl Savering as Earl Hill, Brian Gonzales as Len Hoch, and Rachel Arthur as Louann Bates - a wife who gets the courage to leave her marriage to James, only to lose that fire to fight for more. I like to think of Watertower theatre as our version of New York's Roundabout Theater Company. Watertower brings the finest elements of design and performances from their actors; each time it's just a pleasure to sit and disappear into the worlds they have created on stage. I thoroughly enjoyed Watertower's flawless mounting of this area premiere of Wilson's play. And so will you! Book of Days will run through June 23 at the Addison Theatre Centre, which is located at 15650 Addison Road in Addison, Texas. Performance times are: Thursdays at 7:30 pm, Fridays and Saturdays at 8:00 pm, Sundays at 2:00 pm. Ticket prices range from $19 - $25. To purchase tickets, please call the WTT Box Office at 972.450.6232 or purchase online at www.watertowertheatre.org. Group rates are also available. Please be advised Book of Days contains adult language. Book of Days Scenic Design.......................Michael Sullivan CAST Ruth Hoch...........................Kelly Grandjean |
