REVIEW: An Evening of 2 One Acts at Spotlighters

If you have ever been to Spotlighters Theatre, you know that executive director Fuzz Roark introduces each performance with an anecdote about the late Audrey Herman, the woman responsible for Spotlighters’ existence. It seems that 40 plus years ago, she felt that the Baltimore theatre scene lacked an outlet for new, untried talent to develop their skills. What is happening on that stage this week must have her smiling down from Heaven. The very definition of what she was looking for has taken the stage in the form of two one act plays. The group is a small band of college friends, all theatre enthusiasts from Towson University, CCBC – Essex and UMBC, who needed a place to put on a play – self produced, cast and directed. Roark had space on the calendar and obliged them the chance to present their work on four off nights when the current tenant, Hope’s Arbor, is dark.

One might expect a thrown together evening of vanity performances or a series of smug self-important indulgences from such a group. But the opposite, thankfully, is true. Congratulations is due not only to the cast and directors, but to the teachers, artists and inspirations that have gotten these young folk to the terrific level they are currently performing. Local college programs are succeeding at all levels, if these new artists are any example of what they are producing. Bravo to all concerned!

The first act of the two, Date with a Stranger by Cherie Vogelstein concerns two young New Yorkers who meet at a coffee bar and have a 15 minute whirlwind relationship. Highly theatrical in language and format, the dialogue often seems like stream of consciousness, with ideas and time frames changed within a single sentence. It is truly a tribute to the quality of the actors (the utterly charming Stacey Eckler and assured, sexy, but humble, Michael Stettes) that their timing is razor sharp, nary a line is flubbed or choked, and we can follow every single twist and turn of the plot as it speeds past us like a runaway train. Their presence, chemistry and vocal quality is exemplary, and in an unbelievable situation, they are completely believable. Both young actors are on my growing list of must see performers. Here’s hoping both have a long career. The same goes for the play’s director, Ian Bonds (who also has a small role) who directs in this in-the-round-space like a pro. No side is left unable to see, the movement is realistic, unforced and interesting. Bonds clearly knows what he is doing.

The second act, The Cagebirds by David Campton reminds me of exactly the kinds of plays I did in college – very theatrical, high concept, and just high brow enough to merit much deep discussion during rehearsal. Here we have seven actors portraying the “human” characteristics of a group of caged birds, all run by a mysterious “Mistress” (played by director Kelly Cavanaugh) who coos over them, calling them her sweeties, and lulling them into submission with her unnerving gentle voice. Each bird represents a different personality type in society. What they know as normal, though, is soon thrown into chaos when the Mistress adds a bird, The Wild One, to the cage (played with great urgency and cunning by Ali Rodriguez). The ensemble of six actors playing the original birds gives terrific performances, each unique and very concentrated, but all fitting perfectly together as a cohesive unit when necessary. Amy Haynes as The Gossip has a terrific sneer and haughty carriage perfect for one who gossips, but wouldn’t be caught dead talking about others. Jamie Scanlon provides a new twist on a popular theme, as the self-absorbed Gazer. Instead of the obvious, bigger than life ego-maniac, she is very low key and completely into herself and her mirror – a nice change. As nervous Twitting, Tracy Dye also goes well beyond the boring stereotype of someone on edge. She brings fresh movement, gesture and superb vocalizing together to create a unique, yet familiar character. Jane Steffen as The Great Guzzler seems the most bird like as she twitches and pecks at minute bits of food throughout the entire play. She is completely absorbed by the character – one wonders if she is at all aware of anything but the play, she is so focused. Nick Steigerwald, as The Thump, is appropriately annoying, grating, and loud as he spouts off bits of wisdom and complaint. While he has the least to say and work with, he still makes quite a presence. Finally, Alexander Scally as hypochondriac The Medicated Gloom, is quite a presence as well, balancing a one note character with believable, extremely specific stage business and a great use of his entire voice (who knew whining could be so interesting?). Miss Cavanaugh’s direction matches the play perfectly – it is symbolic, creative, thought provoking, and definitely high-brow theatrical. The entire evening presents young people in a most wonderful light – one, unfortunately, that isn’t shed in public often these days. Their exuberance, vitality and love for their craft are intoxicating. One hopes they all continue to grow and that they continue to find venues for their worthy products. By all means, don’t miss this wonderful opportunity to see the future of Baltimore theatre.