A Fine Wait Until Dark Plays Group rep

RECOMMENDED/ Wait Until Dark/ by Frederick Knott/directed by David Colwell/Group rep/through May 8

(photo credit: Sherry Netherland)

Frederick Knott's psychological thriller Wait Until Dark first premiered on Broadway in 1966 with Lee Remick in the title role and was later turned into a film with Audrey Hepburn. As I watched the play opening night at Group rep, I couldn't help but wonder how much better the play might be if the whole first scene with the conmen were eliminated completely. So much exposition with setting up the scheme is draggy, tedious. If audience were to learn about what is happening through Susy Hendrix (Liza de Weerd) at the same time she's figuring it out, the play might be ultimately more gripping. Not that it isn't already suspenseful! As is it's the non-seeing central character and her ultra-sensory world that engage and her solitary dilemma from moment to moment that keeps us on the edge of our seats. Above all, Miss de Weerd's sensational commitment under David Colwell's taut direction makes it all the more fascinating to experience.

De Weerd is so focused every second reacting to every minute sound: she is totally into character. Many actresses have been very successful playing blind, but it is challenging to keep the audience convinced. Positioning the eyes correctly, moving just right and shifting all your other senses into overdrive is a demanding workout. De Weerd accomplishes it splendidly! Also terrific is Kaylena Rose Mann as Gloria, the precocious but likeable little brat upstairs that perks up even more Susy's extraordinarily chaotic day. Fine support from Chris Winfield as Mike Talman, the basically good man in whom Susy places too much trust, from Leo Weltman as Sgt. Carlino, adding humor especially in the slow-moving setup at the top of the play, and from Bert Emmett in his brief scenes as Susy's husband Sam. Robert Gallo as Harry Roat is less menacing than he could be and needs to pick up the pace in the final scene, as it plays out far too long. Matias Ponce and Jeff Warren complete the fine ensemble as policemen in the last scene.

Chris Winfield has excellently designed an old New York apartment with the hint of a fire-escape outside the kitchen window, which adds chills to the intrigue every time someone crosses it. Colwell, as guest director, does a wonderful job in keeping the pacing on target 90% of the time.
This is a riveting evening of theatre made especially bright by the presence and superior craftsmanship of Liza de Weerd, who never misses a beat.

 

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