Glass Mind Journeys to ANTARCTICA

Carolyn Raship’s 2007 one-act “Antarctica” often feels more like a story than a play. Much of the action—including three possible endings described in quick succession—is narrated directly to the audience by the protagonists, two teenaged girls on an imagined journey to the South Pole.

Not that this doesn’t make for an interesting story. Magda and Winnie meet in Mrs. Walden’s social studies class—rather than teach, Mrs. Walden prefers to reminisce about a long-ago expedition she took to visit the penguins—and later they bond at a generic high school party. Winnie suggests driving to the beach, only neither girl has a license, so—Mrs. Walden’s memories still lingering in their minds—Magda proposes setting out on an Antarctic quest of their own. Which is precisely what they do.

Raship shrewdly never dwells on the obvious impracticality of the plot—once Magda and Winnie decide on Antarctica, they just hop on a boat and go. Thus it is impossible to know for certain how much of the play happens only in the girls’ imaginations … or how little. One senses that at its core “Antarctica” is a metaphor for the transformative power of theatre; the main problem (at least for me) is that the characters never seem particularly transformed. The expedition ended, they return to their lives and drift apart as the lights fade slowly to black.

None of this should detract from what is a fine production by one of the more recent arrivals to Baltimore’s arts scene, Glass Mind Theatre Company, which debuted in February with “Brainstorm,” an evening of six short plays based on ideas generated by local theatergoers. In comparison, “Antarctica” seems less ambitious, and part of me wishes that director Andrew Peters had paired it with another one-act—perhaps with a contrasting theme or style—to create a more complete, provoking whole. Still, Peters and his cast and crew locate enough darkness and depth of feeling in “Antarctica” to balance the play’s whimsical surface.

As Magda and Winnie, Elizabeth Galuardi and Britt Olsen-Ecker share the stage for nearly the entire show, at times finishing each other’s sentences, and make convincing teenagers without resorting to the artifice of “playing young.” Olsen-Ecker proves a gifted comedienne as Winnie, the more easily distracted of the pair, who finds herself torn on the expedition between loyalty to her best friend and to an unexpected addition to their party. Galuardi brings no less enthusiasm to her role, if more gravity—Magda is precocious and stubbornly driven to reach her destination … quite possibly at all costs.

The third cast member, Alex Scally, plays every male role, the most crucial being a great white bear who, in the show’s most menacing moment, prophesies death for the girls if they do not accept his help. The program does not credit a costume designer (Jessica Baker and Jesse Herche designed props), but Scally’s oversized bear’s head is a coup, as is his quiet growl, and Peters uses light and shadow effectively to stage Winnie’s climactic encounter with her strange protector. (Peters’ lighting design is less successful in other moments, occasionally trapping actors in unlit corners of the stage.)

The most intriguing production element is a series of illustrations created by Omar Said and projected on a screen that features prominently in Baker and Herche’s otherwise sparse set. Together with Herche and Peters’ excellent sound design—by turns cheery, ominous, or simply ambient—the images fill out Magda and Winnie’s world with notes scrawled on looseleaf, armies of chattering penguins, and vast, alien snowscapes. A gallery in the lobby—designed by Olsen-Ecker and wittily labeled “Art Class”—displays additional sketches of scenes and characters.

In an interview I conducted several months ago, Peters expressed a desire to “organically make illustrations a part of the storytelling experience.” He proceeded to explain: “We're all interested in working with multimedia as much as any contemporary, young group. But one thing we want to really focus on is making sure any work we incorporate into any piece is helping to enhance the story and fit into the world of the play.” For “Antarctica,” I can say unequivocally, mission accomplished.

“Antarctica” is playing at the Mobtown Theatre, located at 3600 Clipper Mill Road, Suite 114, in Baltimore. Performances are Fridays and Saturdays at 8 P.M. and Sundays at 7 P.M., through May 2. There is no performance on Sunday, April 18. Tickets are $10. “Special events” are scheduled during and after select performances. For more information or to order tickets, email contact@glassmindtheatre.com or go to www.glassmindtheatre.com.

 

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