BWW Reviews: A Chick and A Dude Productions Revives Dark Drama HIT

In the second act of Hit, currently playing at Hyde Park Theatre and produced by A Chick and A Dude Productions, the tough, dangerous Asher states thatthe identity of the hit man has changed over the years. No longer are hit men Italian goons who kowtow to an old guy by kissing his ring or conniving thugs making offers no one can refuse. That idea of the true identity of a hit man is the clear focus of Hit, the gritty, daring drama written by and starring Shanon Weaver, Co-Artistic Director of A Chick and A Dude. Hit effortlessly goes underneath the tough guy exterior and reminds us that even killers-for-hire have a heart and a moral compass. They too can feel love and compassion, and they too have families. They're just like us, and the notion that these sinister characters are human after all makes Hit all the more stimulating.

The play, which made its world premiere in Austin in 2003 and then played the New York International Fringe Festival in 2005, tells two parallel stories. In flashbacks, we see the genesis of Young Asher (Gary Livingston-Weaver), a boy adopted by two hit men, Ervin (Garry Peters) and Wyatt (Tom Green), who teach him to kill. In the present day, Ervin is dead and Wyatt and the adult Asher (Shanon Weaver) have both been assigned to kill the same mark. When Wyatt and Asher arrive at an abandoned warehouse to kill their mark and the mark doesn't show, they are left to reminisce about their lives.

While the Waiting for Godot-esque scenes in the abandoned warehouse could fall into the same traps that many character studies do, Weaver's brilliant writing remains constantly gripping. This is a young writer who deserves to be thought of as an up-and-comer in American theater. He has a clear, strong voice that demands to be heard. Though I'm sure many people have and will compare Weaver to David Mamet for his colorful language and his exploration of machismo (In one moment, a character sarcastically asks, "Should we whip our d***s out and put them on a scale?"), Weaver is able to give his characters emotional depth that Mamet sometimes attempts but seldom achieves. He's also able to sprinkle in some incredibly comedic moments and one-liners that give Hit a bit more texture. A moment in which Wyatt and Asher contemplate the biblical story of Abraham is wonderfully funny. The only moments in which Weaver's script falters are the few unnecessary, action-stopping voice-over flashbacks to an unseen eight-year-old Asher.

Melissa Livingston-Weaver's direction highlights the emotional overtones of the piece and puts the relationships between the fathers and their adopted son under a microscope. She utilizes Michael B. Raiford's dirty, graffiti covered set and Jason Amato's dusty, shadowy lighting to create a claustrophobic environment in which these men must confront their relationships with one another, and the result is absolutely intoxicating and fascinating.

Tom Green's take on Wyatt is completely loveable and endearing. While there is a certain danger and hostility that comes to the surface once in a while, Wyatt is more often a jokester. As Young Asher, Gary Livingston-Weaver succeeds at showing the slow transformation from a young, innocent, energetic kid to a calloused, blood-thirsty killer. Garry Peters gives an electrifying performance as Ervin, the more paternal of the two de facto dads. In every moment, his character comes off as fatherly and tender, two unexpected traits for a hit man to possess. Peters's monologue about the thoughts that run through a killer's head when he takes a life for the first time is spellbinding, in part due to Weaver's incredible words and in part due to Peters's outstanding performance. As adult Asher, Shanon Weaver gives such an exceptional performance, you will undoubtedly ask yourself if he's a better writer or actor. My guess is that you won't be able to come up with an answer. His performance bristles with intensity and anger, and his acting during the show's double-twist ending is thrilling to watch.

While it's rare for an original show to deserve a revival just a decade after its World Premiere, Hit is a welcome exception to the rule. Hit is a bold, fearless drama, and A Chick and A Dude has every reason to be proud of it enough to bring it back to Austin for an encore. It's also time for audiences outside of Austin and New York to enjoy the show. I sincerely hope Weaver will consider licensing his work to other theaters. I'm sure actors and theater companies all over the country would clamor at the chance to work with a well-written new drama. Due to its impressive script and relatively low running costs, I could also see the show being a massive critical and commercial success on the Great White Way. Who knows what the future holds for this show, but with work of this caliber, Weaver and A Chick and A Dude Productions definitely have a hit with Hit.

NOTE: Recommended for mature audiences only.

Running time: 1 hour and 40 minutes, including one 15 minute intermission.

HIT, produced by A Chick and A Dude Productions, plays the Hyde Park Theatre at 511 W 43rd St, Austin, TX 78751 now thru May 18th. Performances are Thursday - Saturday at 8pm. Tickets are $10-$20 Thursday and $15-$25 Friday and Saturday.

For tickets and information, please visit http://achickandadude.squarespace.com/

To post a comment, you must register and login.