BWW Reviews: Hole in the Wall Theatre's HOUSE OF A YES is a Definite Maybe

THE HOUSE OF YES
by Wendy MacLeod
Directed by Tony Palmieri
at Hole in the Wall, 116 Main Street, New Britain, CT through June 1
www.hitw.org

What to say about Hole in the Wall Theatre's latest production The House of Yes that won't consist of a major spoiler? This jet-black comedy manages to be insidious and insidiously funny, but to talk about the story would pretty much ruin playwright Wendy MacLeod's carefully plotted twists and snaky turns. So, being a thoughtful critic, I will simply say, if asked, "Is it worth my time?"; the answer to The House of Yes is a definite maybe.

The reservations keeping me from wholly recommending the play do not stem from the quality of the production itself. Despite some flaws, Hole in the Wall's The House of Yes is a fairly solid interpretation of MacLeod's play (which was also adapted into an indie film starring Parker Posey). The reason for my hesitancy is that the play is definitely not for all audiences and tastes. I would certainly not consider bringing children or extremely conservative individuals (in a religious or social sense, not necessarily political). Who will like it or love it? People who go for indie entertainment, dark humor and dangerous thrill rides.

As much of the story as I can comfortably reveal revolves around the Pascal family. On the night of a hurricane, prodigal son Marty returns home to announce his engagement to the mousy Lesly. A relatively wholesome and normal young woman, Lesly is ill-prepared for what she discovers about her future in-laws.

The Pascals, it seems, are a bit frozen in time with their daughter, Jackie-O, particularly obsessed with the Kennedys. The haughty Mrs. Pascal indulges her eccentric children and the youngest child, Anthony, has become an outsider in his own family with his own peculiar views on life. Mind games and real games are played out with everyone pretty much toying with everyone else in some form or fashion.

The cast is fairly strong, with some moments of unevenness. As the predatory and unstable Jackie-O, Stephanie Layne has a great deal of fun and snap. Her heightened level of disconnect with the world outside her home is played wonderfully well, although she just misses a degree of unhinged menace inherent in the character. As Jackie-O's twin brother Marty, James DeMarco seems to be a bit at war with himself. When striving to be normal, DeMarco's Marty comes off as a bit of a dullard. When indulging in Jackie-O's machinations, DeMarco's performance becomes more sly, lively and engaging. What results is a bifurcated interpretation that does not feel quite whole yet.

As the odd-man out within the Pascal family, Eren Lee portrays young Anthony with a great sense of off-kilter humor. Lee does not always seem entirely at ease in his character and perhaps needs to dig a bit deeper to find the jittery center of the oddball who wants to be more of an insider. Samantha Baker's Lesly displays some backbone, but is played a little too bland to a fault. When the inevitable face-off occurs between Marty's family and his fiancée, the battle feels a little too stacked in the Pascals' favor.

The strongest performance in the cast belongs to Virginia Wolf as the doting and deluded Mrs. Pascal. Landing her laugh lines confidently and mining the haute-bourgeoisie affectations inherent in the role, Ms. Wolf is a tart delight.

Director Tony Palmieri keeps the pacing in the comedy brisk and appropriately dark. There is only one serious misstep when Lesly secretly stumbles upon a clandestine act, but is entirely too close, well-lit and out in the open to be believably hidden from the conspirators. Wearing the hat of scenic designer, Palmieri creates a fine framing for the Pascal family's home. The only real flaw is the hidden bedroom concealed behind black scrim. The initial reveal is dazzling, but ultimately frustrating as the scrim is not opaque enough to allow the audience to see the actors well.

The moody lighting design by Jim Nason works well in this cracked, noir world. The sound design by Bill Arnold creates some difficulties as the sound of the raging hurricane runs on a bit long and loud throughout much of the first half of the play. Pianist John Carroll provides incidental music and underscoring that sometimes enhances and sometimes detracts from the piece.

To wrap up, should you head to New Britain before June 1 to catch The House of Yes? No, if you have delicate sensibilities. Yes, if you are an adventurous theatre-goer.

Photo of Stephanie Layne and James DeMarco by Adrien Broom.

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