‘Les Miserables’: Broadway in Austin brings a spectacular, heart-rending rendition of a Broadway classic

Some feelings are evergreen. Holst’s “Mars” will always quicken the heartbeat; “Psycho”‘s shower scene will always have one’s nerves on end; and, no matter how often you see it, a powerful rendition of “I Dreamed a Dream” will always leave one in tears. The musical “Les Miserables” is a piece of art which, despite running for over a quarter of a decade, has not lost an ounce of it power, as the latest tour, brought to us by the fine people at Broadway in Austin, proves. With no flashy gimmicks, with no stunt casting, with no major changes, this production of “Les Miserables” is just as emotionally devastating and satisfying as it was so many years ago, if not more so, with a fine cast of both newcomers and mainstays, who all give it their all create one of the best iterations of the musical this critic has seen.

Jean Valjean is one of the great, meaty roles of the Broadway canon, perhaps the meatiest. It’s a challenging role, requiring not only stage presence and a prodigious singing talent, but also the acting ability to play a character from his younger years to his final, aged death. It’s been performed by luminaries such as Colm Wilkinson an Hugh Jackman, so any actors stepping up to play the role knows that will have huge shoes to fill. Luckily, Nick Cartell brings just the right balance of skills to fill those shoes. His vocal work alone would leave him worthy of praise, with his sharp, beautiful falsetto absolutely soaring, perfectly, in his rendition of “Bring Him Home”, which is only a cap to the wonderful work he does throughout. He also brings an amazing presence to the role, commanding our attention at every turn, and creating great chemistry between the equally imposing performance of Josh David as Javert.

Josh Davis as ‘Inspector Javert’ and Nick Cartell as ‘Jean Valjean’ in the new national tour of LES MISÉRABLES. Photo courtesy of Matthew Murphy

As Javert, Josh Davis plays the perfect foil to Cartell’s Valjean, with his tall, gaunt stature with sunken features, a figure of looming doom constantly following close behind our hero. His deep, resonant voice booms through the theatre, running up the spine and practically bringing shivers to the audience. It’s a bit of pitch-perfect casting, as it casts Javert as almost a grim reaper figure, an arch-nemesis just waiting for Valjean to make one wrong move. This does minimize some of the sympathy that certain performers may bring to the role, but it also, in its own way, helps to streamline the relationship, something that is appreciated in a narrative this dense. Davis, for his part, plays the role to perfection, with his commanding presence and unique vocal style, and will have most of the audience awed by the time he leaves the stage.

“I Dreamed a Dream” is a number that most people in America know by heart. It’s a soaring, tear-wrenching ballad, sung to the rafters that blows open all the windows. It’s fascinating, then, to see what Mary Kate Moore does with the song, choosing to use the soft beauty of her smooth, crystalline voice to keep the song low, to let every emotion slowly seep out of her, not with any lack of power, but without the usually explosive volume. What this does is create a more intimate moment, a moment that feels more personal to the character, which in many ways is much more fitting to the song in question. Indeed, this is the way Moore handles her performance as a whole as Fantine, bringing a more grounded feel to the character that helps us relate to her plight. It’s important that we get emphasize with Fantine, and quickly, as she spends so little time on stage, but her fate pushes forward much of the momentum of the story, so she has to be likable, pitiable, and venerable, three things that Moore brings here with gusto. Even though I’ve seen this play upwards dozen times, I couldn’t help getting misty-eyed during this rendition of “I Dreamed a Dream”, and by the time she comes to her final destination, I was not alone with my weeping.

Paige Smallwood as ‘Éponine’ in the new national tour of LES MISÉRABLES. Photo Courtesy of Matthew Murphy

One of the true breakout stars of the piece, however, is Paige Smallwood as Eponine. Eponine is one of the most sympathetic characters in the piece, a child raised by horrible parents, stealing and begging in the streets to stay afloat, yet full of caring and love. It’s a difficult role to pull off, as it requires a soft heart but a strong backbone, a sensitive strength that comes from within. Smallwood carries this well, with a voice like that of broken glass: clear, smooth, and beautiful, yet sharp, piercing, sometimes even dangerous. The moments she’s on stage are some of the highlights of the piece, and “On My Own” has rarely carried so much raw emotion than when performed by Smallwood. If there’s any justice in the world, Smallwood will have a bright future ahead of her, as she has the talent to propel herself into dazzling heights.

I could go on for several thousand more words on this talented cast. Jasper Davenport gives one of the most charming rendition of Gavroche I’ve ever seen; Allison Guinn steals every scene she’s in as Madame Thernadier; Jillian Butler’s clear, birdsong voice elevates a role that’s usually fails to click with me in Cosette; Matt Shingledecker is a powerful presence as Enjorlas; Joshua Grosso brings an awkward, youthful energy to Marius that makes him incredibly endearing; and on and on, it’s a network of actors so talented that it would take far more words than anyone would want to read to really do them justice. The crew of this “Les Miserables” has done an astounding job in rounding up this collection of talents, and it has paid off in spades with one of the best casts the play has ever seen.

There’s a simplicity to the way this the crew of “Les Miserables” has chosen to present the piece. There are no flashy gimmicks, no bold acting choices, or stunt casting, only a polished production, solid cast choice, and some clever directing, which all comes together to create the very distillation of what “Les Miserables” should be, in all its of heart-racing, tear-inducing glory.

The company of LES MISÉRABLES performs “Master of the House” with J Anthony Crane as ‘Thénardier’ and Allison Guinn as ‘Madame Thénardier.’ Photo courtesy of Matthew Murphy

Photos courtesy of Matthew Murphy.

Trouble Puppet’s ‘American Blood Song’ is an epic, painfully honest look at one of the darkest parts of American history

When most of us look back on America’s history, we like to remember the good times: the victories, the discoveries, the stories of heroes and brave men. There is, however, an importance in never forgetting the darker moments that make up our past, those shadowy corners that we dare not even whisper about in mixed company. Trouble Puppet Theatre have taken it upon themselves to shine a light into one of those dusky corners with their latest, the solemn, soul-rending puppet operetta, American Blood Song, an exploration of the trials and torments of the members of the Donner Party, an infamous group of settlers forced into extreme conditions thanks to some bad advice and stubborn leadership. What writer/director Connor Hopkins and his crew create, however, is not the familiar story we know, as he twists it, to tell his story from mostly the mouths of the women of this doomed company, showing us the story of bright-eyed daughters, abused wives, and overtaxed mothers, and how they are led astray by the actions of over-confident men.

Before walking into the performance, one can be forgiven for thinking puppetry and tragedy seem like an ill-fitting marriage. Particularly in American culture, puppetry is seen as an art form for children, full of joy and whimsy, and American Blood Song is about as far from whimsical as one can imagine, a descent into despair and decay, an exploration of the darkest sides of the human experience. With live actors, the whole exercise would become too extreme, but by making these characters puppets, there’s a certain remove that makes it more palatable. This is not to say that American Blood Song is an easy watch, far from it. We see mutilation, cannibalism, murder, and the death of children and animals, and even in the form of puppets, it can be an extreme journey. As you’re reading this, you can probably imagine that, if handled poorly, this could all become a tad bit silly, but luckily, one thing that saves this from going in the wrong direction is the emotionally honest performances.

One often forgets the importance of the human element in a puppet performance, but Trouble Puppet has always made sure to have the best talents behind the wheel, and this has never been so evident than in this production. Even with the beautiful, elaborate puppets and landscapes the company create, it’s the skilled stable of actors that provide the real heart of the characters. The detailed features and gorgeous costumes of Tamzene Donner go some way in telling her story, but without Caroline Reck’s soulful delivery, without her soft, silky, plaintive voice carrying us through, the play would hit with far less power; the horrible events that befall the 13-year-old Virginia Reed would not carry the same weight without Marina DeYoe-Pedraza injecting a playful, awkward innocence into the her voice; without Zac Crofford’s soaring baritone, Lansford Hastings would not come off as half as effective a villain; and William Eddy’s reluctant heroism would not hit such impressive heights without the strong, stalwart voice of Zac Carr behind the scenes. Each of these performers, and the handful of others talented actors, create crystalline moments of pure emotion that stick in your mind, lingering with you in the days to follow.

One mustn’t think that American Blood Song is without its moments of levity, however. There are few writers with a more keen ear for gallows humor than Connor Hopkins, and in this production, he and his company are able to bring in moments of humor while still being respectful to these historical figures. In particular one of the earliest scenes, involving a revolving door of shysters trying to steal the money of gullible travelers, is one of the funnier moments I’ve seen this year. Even in the melancholy moments that make up the latter half of the operetta, there’s time for a cheeky little ditty about cannibalism that helps to lighten the mood. It’s still a harsh road through American Blood Song, but Hopkins makes sure that there are still chances to crack a smile from time to time, even if the times are tough.

We mustn’t forget the other important ingredient in making American Blood Song work so well: Mother Falcon. Even in the most triumphant of songs (such as the recurring tune, “America”), there’s a sense of unease, of something being not quite right, a soft underlying rumble of cello, the quick, sudden quirk of an electric guitar that keeps us on our toes. The entire score brims with sorrowful passages, a delicate clarinet or a mournful sax drifting softly across the audience, wrapping us within the cold, the despair, and holding us fast. With just three performers, Mother Falcon creates an entire sonic landscape, helping to give texture and dimension to this immersive, sorrowful puppet landscape we find ourselves in throughout the later stages of the piece.

American Blood Song can be a difficult sit, and it’s probably not for everyone, but as I was leaving, I was reminded why I go to the theatre. While many plays are entertaining, and still others present an intriguing look at modern life, the best plays are the ones that leave you contemplating something within yourself. Something about “American Blood Song” changes you, seeps into your blood and grasps your bones, leaving you shaken in a way that upsets you as you’re sitting in bed at night. By breathing life into these puppets, Connor Hopkins and company have animated these long-dead memories, turning them into living, breathing figures, not so different from ourselves, and if this wilderness, which tests the limits of human extremity, could turn these people into such monsters, what would it take for that same change to happen to you, or to me?

American Blood Song is playing through August 17th at the Vortex Repertory Theatre. For more information, and to purchase tickets, please visit troublepuppet.com.

Photos courtesy of Andrew Stalick

Summer Stock’s “Sister Act” is a stunning display of fresh young talent

Some of my favorite productions over my years of reviewing have come from the humble stages of Summer Stock Austin. Those in the know surely have fond memories of their productions of Little Shop of Horrors, Sweeney Todd, or Legally Blonde, or even their legendary joint-production of Chess, if you were lucky enough to attend. Though the loss of Michael McKelvey hit the company hard, Summer Stock is still one of the highlights of my year, and this continues with their latest, “Sister Act”. I will be the first to say, “Sister Act” is far from my favorite musical, as the numbers don’t have the X-Factor of some of it contemporaries, and it’ss never funny enough nor deep enough to strike either side of the “comedy/drama” coin in any memorable way. That said, what Summer Stock, and director Daniel Adams, bring to the table is a group of talented young people on both sides of the desk, from cast to crew, each with a passion to create the best performance they can in just two weeks. It’s always staggering to behold just what they’re able to create with such a meager budget and tight time constraints, and despite technical issues, they’ve pulled out an soulful, solid production of this Broadway staple.

“Sister Act”, based on the hit film of the same name, follows Deloris, a singer turned moll turned informant, who, after running afoul of her violent gangster boyfriend, goes into hiding in the most unconventional place imaginable: a convent. This leads to some growing pains, as the larger-than-life Deloris must come to terms with her new staid, hallowed home, but when she’s put in charge of the convent’s choir, she proves that some lights shine much too brightly to be hidden under a bushel. Forgoing much of the joyful noise of the original film for somewhat lackluster songs by Alan Menken and Glen Slater, which don’t stand out as either’s best work, the musical still holds its own thanks to a solid premise and some whacky hijinks.

From the moment she arrives on stage, it’s obvious that Micaela Lamas is a star. She brings a sassy, soulful energy to the role of Deloris, reminiscent of Lizzo or comedian Nicole Byer, delighting with refreshing vocal chops and comedic timing in equal measure. She makes each of her numbers look easy, injecting them with an exhilarating exuberance that is infectious to behold, even if the songs themselves don’t shine quite as brightly. Even in the most ho-hum of numbers, Lamas is able to inject her own brand of vivacity into the proceedings, keeping the audience rapt and the action moving. She has the entire musical resting on her shoulders, and she attacks it with such aplomb that she makes it seems like the easiest thing in the world.

One of the true joys of attending Summer Stock each year is discovering talent on the rise. Much like the character she portrays, when first meet Maryanna Tollemache as Sister Mary Robert, she’s quiet and meek, mostly going ignored, but the moment she hits her first belt, you’ll be falling out of your chair. Tollemache’s instrument contains both strength and clarity, and even with a faulty mic she still blasts open the doors with her power. When she finally gets a chance to sing a song of her own, she demands our attention, injecting real pathos while keeping her voice clear and solid. She doesn’t slack in the acting department either, as she’s able to play both modest and timid, as well as cool and rebellious, taking on both with an admirable flair. She’s an actress to keep one’s eyes on, and as only a senior in high school, there’s no telling the heights she’ll hit in the years to come.

I had my reservations when Abby Holtfort first appeared as the Mother Superior. Though I had seen her give fine performances in the past, there is always a concern in young casts in how older characters would be handled, as taking on someone of both such an advanced age, with that much gravitas, can often be a challenge for young performers. Holtfort put all my doubts to rest, however, as the actress carries herself with a grace and solemnity that instantly endears her to the audience, especially when placed against the larger-the-life persona that Lamas exudes. She makes for the perfect foil, and watching these two leads interact is one of the true highlights of the piece.

Of course, I can’t leave here without mentioning the stellar work done by David Pena, Tristan Tierney, and and Jaiden Collier. The three portray a trio of bumbling gangsters, and they steal nearly every scene they’re in. They provide a pleasant diversion from the convent antics, and create some of the best set pieces in the production. In particular, Tierney proves himself to be a name to remember, as the actor brings in the charisma that made him such a hit in “How to Succeed in Business” to give his mobster a smarmy, greasy charm that’s undeniably hilarious.

“Sister Act” is far from the best musical that’s graced Summer Stock stages, but there’s no denying that the level of talent on display is colossal. From the smallest bit player to the play’s star, each brings wit, zeal, and an undeniable passion to their performance that’s hard not to love, which elevates even the most mediocre of pieces. I’ve never come away disappointed in a Summer Stock Austin production, and that certainly won’t start now, so be sure to check out these young performers giving it their all.

Photo courtesy of Summer Stock Austin .

‘Rub A Duck’ is a daring, experimental masterstroke

There are few things more exciting than seeing the birth of something truly unique. With just a handful of performances under their belt, Frank Wo/Men Collective has firmly planted their flag into the Austin arts landscape with their bizarre, bold, and brazen experimental performances, and with their latest, they’ve created one of the most audacious performance pieces the city has seen in years. A stunning slide in a waterlogged wonderland, Rub A Duck is an opening salvo, waking audiences up to just what this fledgling company has to offer.

At this point, you may asking, what’s this piece about? Honestly, even if I could tell you, it still wouldn’t capture the dark magic that Frank Wo/Men Collective casts in this wet, wild, and unflinching masterstroke. Taking place in the foothills of the Appalachian Mountains, Rub A Duck transports us into the Transformation House, a home for those seeking a better identity for themselves, as we follow the grueling, moist journey of five participants, each with their own desires, goals, and personalities. What happens within the walls of this place is nothing short of jaw-dropping, as the participants perform in increasingly bizarre tasks, some of them so wild I’m not sure I could write them down without being flagged (one particular sequence involving a speculum may be the most daring act I’ve ever seen on stage). One thing they all have in common is that they present a collection of performers who are as brave as they are brash.

Part dance performance, part musical, part experimental art piece, one thing that’s for certain is that I’ve seen few things like Rub A Duck. Not since Rude Mechanicals’ Dionysus in 69 have a I felt so shaken by a performance, and if I’m comparing a company to the Rude Mechs, you know we’re talking about something special. Every performer is at the top of their game, showing rare bravery and skill, going the extra limit to leave every bit of blood, sweat, and tears on the floor. Of particular note is Kelsey Oliver as Participant 4, whose ferocious fervor kept the audience spellbound, especially as things spun into pure madness in the play’s later moments, showing full control of every inch of her body throughout, contorting them to horrifying levels.

As I left the performance, it hit me that I didn’t quite know how to review this piece. One of my companions left absolutely inspired, waiting with baited breath for the next Frank Wo/Men show; the other left completely traumatized. One thing that’s for sure, everyone left the show a changed person, and isn’t that what we’re all looking for in art? I for one will be first in line for the next production.

Photo courtesy of Matthew Bradford.

‘Hamilton’: Historic hip hop Broadway mainstay gets powerful, poignant production

It’s been over a decade since Lin-Manuel Miranda stood before the president to perform a hip hop song about the life of Alexander Hamilton. Little did he know that one day that simple song would lead to one of the most celebrated pieces of media of the 21st Century, the record-breaking Tony, Grammy, and Pulitzer Prize-winning musical Hamilton, which netted upwards of thousands of dollars a seat in its prime. After nearly a decade, this musical wonder has finally made its way to Austin audiences thanks to Broadway in Austin, who bring in a talented cast of Broadway vets along with other talented touring players, to create a polished, powerful production that will take audiences on an emotional, engaging journey through the life of one of the most underappreciated founding fathers, full of witty, raw, and well-written tunes, clever, subtle choreography, and smart direction that’s sure to satisfy even the most ardent Hamilton fan.

Even with the best tunes and finest supporting cast, the piece would fall apart without a steady force at its center, and thankfully Joseph Morales imbues the titular protagonist with a sensitivity that makes him likable, even in his darkest moments, all leveled out with a cocky confidence that makes him a believable Lothario. His soulful voice also gives his songs a different flavor than fans may be familiar with, a style that keeps the flair of Miranda’s delivery, while injecting a touch of extra heart into some of the more emotional moments. Morales makes smart choices throughout, creating a performance something distinctive, effervescent, and riveting.

Of course, Hamilton’s gonna need his right hand men (and women), and the major actors with whom he surrounds himself all bring something brilliant and unique to the table. Though he lacks the powerful, belting prowess of Leslie Odom Jr (what actor doesn’t), what Nik Walker brings to the roll of Aaron Burr is an emotional verisimilitude, a staunch confidence of character that helps the audience connect with his spirit. In many ways the musical Hamilton paints Burr as a very sympathetic character, and through his vulnerable performance, Walker helps the audience see into Burr’s heart and soul. Speaking of vulnerability, Erin Clemons brings tears of many shapes and sizes throughout, thanks to her sensitive performance as Hamilton’s wife Eliza. Her arc is one of the most heartbreaking in the show, and Clemons carries it with aplomb, selling each feeling as if it she’s ripping it from her own chest. When she belts out “Burn” in one of the show’s most gut-wrenching moments, prepare for the aisles to become flooded with the audience’s tears.

The production is also littered with several winning supporting performances. In particular, Fergie L. Phillipe, in the dual role of Hercules Mulligan and James Madison, steals most of the scenes he’s in, even if he’s only in them for a moment. He’s fantastic at bringing out the humor in every situation, even if it’s just a single word. Another show-stopper is Jon Patrick Walker as King George, who’s over-the-top personality is perfect for the haughty king, and every time he appears on stage one can’t help but smile. We also mustn’t forget Kyle Scatliffe, playing the dual role of the talented revolutionary Marquis de Lafayette, as well as the cocky Congressman Thomas Jefferson, and he flounces into both with a cock-of-the walk confidence that makes him instantly likable. He also has the talent to balance this cockiness with the believability, never straying into over-the-top caricature.

Hamilton has become a legend in its time, a modern masterpiece, beloved by people around the world, so this touring production has a lot to live up, but luckily Broadway in Austin has brought us a polished production of this Broadway wonder. Full of toe-tapping tunes, pitch-perfect performances, and some real heart, this production will surprise any audience, whether they’re super-fans who’ve memorized every word of the cast album, or newcomers who barely know the play’s historical backbone.

Photo courtesy of Joan Marcus.

Broadway in Austin’s ‘Cats’ is a whimsical piece of pure nostalgic spectacle

As a critic, I try to walk into most productions as blind as possible. I may read a play to get some context, or look up some information on a historical figure if they’re the subject of a work, but on the whole, I try to remain as impartial as possible, keeping expectations minimal and on a level ground. That said, there are some productions that carry with them added weight. Cats is one of my family’s favorite musicals. My sisters and I wore out an old VHS tape of the Broadway production, playing it over and over, and later, my nieces and nephews did the same, and it was always one of my mother’s dreams to see a live production of it. This is the weight I couldn’t help but carry into Broadway in Austin’s production of the musical, a musical that had followed me around since my childhood. Could anything ever live up to those kind of expectations? In a word, yes, but let’s examine further.

When you spend so much time with a musical, it almost becomes a part of you. Even hearing someone mention Skimbleshanks is enough to make me grin, for instance, as it brings back memories of an elementary school theatre arts production, or those tapes, where he was far and away my favorite Gelical Cat (pretty good for a character who only spends about twenty minutes on stage). Mistoffelees, Macavity, Deuteronomy, these characters all hold a special place in my heart, so seeing them live on stage, you would think it comes with an automatic joy. However, there’s the rub. Broadway in Austin’s production could have gone very badly. With such extreme nostalgia comes expectation, and though there’s a joy that comes with meeting those expectations, there’s also the very likely disappointment that will come with not meeting them. After all, if someone has memories of one of the best productions of a particular musical, it can be a difficult task to overcome that to create something worthwhile.

It’s to director Trevor Nunn’s credit, and the credit of all his team, that this production not only met my expectations, but exceeded them. What Nunn and company have created here is very smart, as it clings to the parts of the musical that Cats lovers enjoy, while adding just enough to keep things fresh and interesting. We can still sing and clap along as Mistoffelees does his incredibly footwork, still beam with joy when Skimbleshanks finally shows appears, vest and all, and weep when Grizabella is finally accepted by her peers. What Nunn added is the polished production, from the fine costume work, to the gorgeous set design, to the absolutely stunning lighting design, the latter of which elevates every scene, as they know when to keep the work subtle, and when to explode in a flurry of insane tricks, keeping the momentum lively and the action moving, and making some of the show’s best moments shine even brighter.

Certain pieces of art need no introduction. You don’t need someone to tell you that the Mona Lisa is working checking out, or that The Barber of Seville is a hot show. In much the same way, most of the people reading this will already know whether or not they’re going to enjoy Cats. That said, what Broadway in Austin has brought us is a visually sumptuous, wackily whimsical presentation of the White Way mainstay, full of stunning choreography, impressive production, and polished performers. Nunn has provided the epitome of Cats production with this tour, creating an unforgettable experience for lovers of the musical, which may even turn some reluctant naysayers.

Photo courtesy of Matthew Murphy.

Filigree’s ‘100 Planes’ is subtle, yet powerful, examination of women in the military

As our military industrial complex becomes more integrated in modern times, what does it really take for a woman to succeed as an officer? That’s the question at the heart of Lila Rose Kaplan’s intriguing work, 100 Planes, being given a worthy interpretation by Filigree Theatre and director Elizabeth V. Newman. Here, we follow Lieutenant Kay McClure, a plucky, awkward, but incredibly skilled young pilot who has always dreamed of flying, and who idolizes the famous pilot, Major Anne Clarkson. When Clarkson begins looking for recruits to pilot her new, top-of-the-line hybrid plane, Kay becomes obsessed with taking the spot, but does she have the drive to follow through on all the hardships that will come her way, and is she willing to sacrifice the ones she loves, and even a bit of herself, to make her dreams a reality? Though it may go overly dramatic in its last act, 100 Planes is an intriguing look at a sector not often examined in theatrical works, and does so with a subtle, nuanced hand that not only shines a light on to the darknesses within the complex itself, but also examines the toll the pressure of working in said complex can have on a person.

One of the most intriguing elements of 100 Planes is the way it examines femininity in masculine spaces. Early on we’re shown that in the military complex in which the action plays, femininity is liability, an invitation for abuse, seen as a frivolity to the higher-ups. It’s fascinating to see the moments when our characters are allowed to show their feminine qualities, whether it’s Kay’s attachment to her heart pillow, or something as small as Major Clarkson’s gift of a rose to her girlfriend. On the flip side, however, much of the play’s tension lies in the explosive reaction that occurs when one tries to tamp down or eliminate their traditionally feminine characteristics, as part of the incendiary finale of the play can be seen as a reaction to an unbridled pursuit of a masculine ideal. That our protagonist only finds the peace she seeks by embracing her softer, emotional qualities can’t be seen as a coincidence.

Taking on the characters in 100 Planes is no small feat, as each of them, by nature of their employment, is forced to tone down their emotions in order to fit in to the military environment. This forces most of the actors’ decisions to be subtle ones, to play with the affect in ways that won’t detract from the verisimilitude of their environs. This can, at times, effect chemistry between the two romantic leads, as their romance is forced at times to play against what at times feels like a brick wall, but it’s to lead actress Alani Rose Chock’s credit that the relationship feels genuine. Chock injects an awkwardness into her character that makes even her most buttoned-up moments endearing, as one can tell there’s always a sweetness underlining even her most rigid moments.

Brennan Patrick, for his part, plays as the perfect counterpart to these women. If the play is an examination of femininity in masculine places, the sensitivity and emotional nature of Patrick’s character seems to be exploration of these feminine qualities in men. Though he never comes off as effete, his deep adoration for Chock’s Kay, and his resolute pursuit of truth and peace make for an interesting counterpoint to the stern masculinity at play in many of the corners of military industrial complex in which this play spends most of its time. Patrick is an excellent counterweight to a play that can come off as a bit stern and overbearing at times, providing an affecting, emotional core to the piece that’s quite refreshing.

If we’re speaking of emotional arcs, no actor pulls theirs off more effectively than Brittany Flurry as Monique. From her earliest moments, it’s clear that Monique is a figure that’s been ground down by the complex, forced into her surly disposition by both the military and an overly-determined lover. She’s been pulled along and pushed around so long, the chip on her shoulder has become a yoke she’s forced to bear. Watching her break down near the end of the play’s run is one of the most powerful moments in the production, and Flurry sells it with aplomb, bringing a slight tear to even the hardened audience member.

Though many of the supporting performance are quite impressive, none of this would work without fine performances from our two leads, the hardened Major and her promising new recruit. Their relationships is an intriguing one, as the harshness of Major Clarkson, played with gruff determination by Karen Harrison, is buoyed beautifully by Chock’s plucky resolve to become the best. Their dance is a measured one, an intricate waltz that becomes more treacherous as the play continues, with motives being questioned and allegiances changing with every movement. These characters are slightly let down in the later stages of the work, as a few predictable, overly-dramatic elements take them away from situations that could be more emotionally satisfying, but one the whole, these two play their complicated game with an intelligence and drive that’s admirable.

Though it doesn’t quite stick the landing, 100 Planes is a powerful look at how women fight to survive in masculine spaces, and the disastrous effects this struggle can have on the psyche. The play forces the performers to step up to a higher level of emotional intelligence, and they mostly rise to meet it, creating a nuanced piece of drama that’s sure to leave the audience shaken.

100 Planes is playing at the Mastrogorge Theatre through April 13th. For more information, and to purchase tickets, visit filigreetheatre.com.

Photo courtesy of Steve Rogers.