BWW Reviews: The Landing Theatre Company's EXIT 27 is Deeply Sagacious, Breathtaking, and Magnificently Stimulating

Attending a World Premiere is always an exciting moment for audiences. There is an allure to the anticipation that the unknown brings. Then, when the theatrical event is nothing short of excellent, there is elating satisfaction to being among the first audiences privileged to see the piece staged. Such is the case with The Landing Theatre Company's breathtaking and gripping production of Aleks Merilo's EXIT 27, which was the winner of the 2012 New American Voices Play Reading Series last summer. This resoundingly incredible play deftly moved me more than anything I have ever witnessed, stirring my mind and breaking my heart many times and on many different levels.

For those of us in Texas, the Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS), a polygamous break-off sect of the Church of Jesus Christ of Latter-Day Saints, led by Warren Jeffs exists on the outskirts of our cognition. It's something many of us are aware of, but we don't truly know much about. EXIT 27, which takes place in the harsh and barren desert between Colorado City, AZ and Hurricane, UT, presents audiences with startling composites that are made up from interviews that Aleks Merilo had with these "Lost Boys of Utah." These young men were ejected from their homes and families at "The Creek" (formerly Short Creek, Utah) for their inconsequential sins and made to feel that they are beyond spiritual redemption. Their stories are poignant and sorrowful. In the play, four of these young men find themselves cradled between the salvation of returning home and the society of "Outsiders" they were taught to fear and loathe.

Direction by Anne Quackenbush hits audiences in the gut with the show's weighty material. I sat stoically through the first third of the first act, doing my best to control my emotions. Knowing that this play is heavily influenced by and based on truth, the work is all the more devastating and profound. Yet, as James Monaghan's Dodge delivered his first monologue, I lost myself. Silent tears streamed down my face throughout the remainder of the first act, as I was left utterly bereft and broken by the beautiful and stunning portraits Anne Quakenbush coached her cast to deliver. Moreover, the struggles the boys face erupt into violent outbreaks, which make the play all the more visceral and thrilling. Anne Quakenbush brings such an impending feeling of immediacy to the work, that I sound myself breathless and on The Edge of my seat for almost the entirety of the second act.

Brodie, as played by Tim Ashby, begins the show with a tangible air of unassuming nervousness. As the plot progresses and his secrets become laid bare, the audience understands the incredible stakes involved in his character's intensely personal arc. Brodie's desires become enlightening and invigorating in the production, all of which are masterfully conveyed by Tim Ashby. His character opens the eyes of the audience and the other characters with clarity and conviction, compounding the multifaceted issues of faith and humanity presented in Aleks Merilo's script. Moreover, Tim Ashby gives audiences plenty to emotionally connect with, relate to, and think about.

Danny Dyer's Ryker is riddled with angst and aggression, filling our hearts with insurmountable amounts of empathy and sympathy. His resolute and unshakeable faith motivates all of his decisions. In many ways, Danny Dyer's Ryker is the leader of the boys, imbued with an intrepid bravado. He manages the supplies and materials and does everything he can to ensure that the boys remain as spiritual as possible. Instead of collapsing into a broken person forgotten by his family, he constantly searches for glorious redemption and a way back to his home. Also, Danny Dyer expertly weaves vulnerability into his portrayal of Ryker, delivering touching monologues and playing a sentimental and heartfelt game of cat's cradle with Tim Ashby's Brodie.

James Monaghan pristinely plays Dodge, the reckless and rebellious member of the group. Dodge's foreboding hostility is forged in a different metal from the other boys, which sends him down darker paths. Lost in his feelings of damnation, he dabbles in theft, drinking, and the abuse of crystal methamphetamine. James Monaghan fills the character with impetuously brash resolve, making his torment and pain guttural and realistic for the audience.

Shyler, as played by Jack Ivy, is furtively nervous, timid, and all together quiet. His monologue late in Act I immaculately illustrates the mental anguish the character has endured at the hands of FLDS leadership and the faith they taught him. He leaves the audience marvelously destroyed in a wake of inexplicable horrors. Jack Ivy astounds with his commitment to the character though constantly wringing his hands and twisting the ends of his shirt. His body language, facial expressions, and reticent presence consistently read as anxiously uneasy, which makes his discomfort a burden the audience can share with him.

The Outsider is phenomenally and brilliantly played by Jamie Betik. As a representation of the audience in the play, Jamie Betik is the one character that we can most easily and fully relate to. Her heart bleeds for the injustices and horrible living conditions these young men are exposed to, and she, a Good Samaritan, attempts to help. Featured lightly in Act I, she truly blossoms in Act II. As she comes face to face with the most impactful, riveting, and surreal clash of culture ever represented on a stage, Jamie Betik captivates and enthralls the audience with perfected precision.

Scenic Design by Kristina Miller works fantastically in the space. She adroitly creates a naturalistic hovel out of a seemingly abandoned house in the middle of the desert. Dust, dirt, grime, and garbage sprinkle the landscape created in the space, giving it a lived-in and neglected look.

Costume Design by Kristina Miller captures the conservative and somewhat antiquated apparel worn by members of FLDS. The clothing on the men seems almost as if it was ripped out of the 1950s. It also keeps the long underwear garments in constant view, showcasing their rigid adherence to the rules of their faith. The Outsider's costuming is a stark contrast to the clothes of the men, providing a rich visual context for the disparity that lies between the two cultures.

Lighting Design by Riana Canetti-Rios utilizes a keen perception of realistic lighting for a majority of the show. Warm ambers easily convey the heat and dryness of the Northeastern edge of the Mojave Desert. Soft blues create a cooling twilight on the stage and provide an excellent backdrop for the monologues that are delivered in sparkling, clear spots.

Fight Direction by Brian Hamlin is powerfully raw and appropriately discomforting. Each punch, kick, and knee is thrust with explosive strength and imperceptible control, making each violent hit appear to really land and not be fully choreographed. His work is sublimely convincing.

The Landing Theatre Company's magnificently stimulating World Premiere production of Aleks Merilo's EXIT 27 is an emotive, resplendent, efficacious, and sensational night of ardently provocative theatre. This new work truly and unequivocally gets everything right. It impressively invigorates and annihilates audiences at the same time with its deeply sagacious explorations of the potency of faith and the frailties of humanity. It's an emotionally exhaustive experience that enriches our understanding of a contemporary problem, and leaves our backs tense, stomachs in knots, minds racing, and hearts bleeding.

The Landing Theatre Company's presentation of EXIT 27 runs through July 6, 2013 at The O'Kane Theatre on the University of Houston-Downtown's campus at One Main Street, Houston, Texas. For more information, please visit http://www.landingtheatre.org or call (832) 582 - 0661.

Photos courtesy of The Landing Theatre Company.

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