Review: Coyote Stageworks' AGNES OF GOD - An Emotional Powerhouse at the Annenberg

AGNES OF GOD is challenging theatre at every level. It demands a lot of its audience. It demands its audience be engaged and active at every turn. It is both emotionally and intellectually stimulating and provocative. It is ninety-plus minutes of thought provoking dialogue with minimal action. One must listen. It asks a lot of questions and delivers few answers. It requires three exceptional actors with the dexterity to bounce effortlessly and honestly between strength and pathos and vulnerability, over and over again - to bring believability and life to an arduous load of complex dialogue. It requires the deft hand of a skilled director to delicately weave these three divergent character arcs into a seamless singular story arc, where the story's quieter moments are equally as riveting as the more chaotic ones. Fortunately for desert audiences, Coyote Stageworks delivers on all counts. This AGNES OF GOD is well crafted, expertly acted and is cerebrally, spiritually, psychologically and emotionally fulfilling.

Don Amendola's staging was simplistic by design. I admit that at times the blocking seemed a bit stilted and, on a couple of occasions, even discordant to the dramatic tension - but above all, Amendola's direction was emotionally spot on and his graceful artistry was evident in the deliciously organic development of both plot and character. He was masterful at guiding his actors through the complexities of their roles and relationships, with an unwavering eye for "truth" in every circumstance. Nothing was overplayed or unreal - a credit to a keen eye and an expert hand.

Marsha Waterbury's Dr. Livingstone was a tour de force performance - nuanced, measured and layered. The role of Dr. Livingstone requires "heavy lifting" even from a technical standpoint as the actor never leaves the stage, is given equal parts dialogue and monologue, and is actively and emotionally engaged from curtain to curtain. Waterbury more than met the challenge. The author has written the role of the psychiatrist as both protagonist and antagonist, and Waterbury walked the fine line with tremendous aplomb. Laura Julian's performance as the Mother Superior was quite remarkable. She has a subtle strength about her that is mesmerizing. She expertly handles the emotionally crippled Mother Superior whose acerbic and steady exterior masks her fear and fragility. Julian was commanding and compelling from word one. The only performance that left me somewhat non-plussed was that of Britt Adams as Agnes. I was actually conflicted. Her Agnes was so "childlike" that it was, at times, a bit off-putting and actually "took me out" of the the play altogether. It was as if she was working too hard to convince us she was naive and guileless by speaking in the voice of a five year old child instead of letting the authors artfully crafted dialogue do the work for her. To that end, much of her line delivery seemed, to me, disingenous. She is clearly an exceptionally talented actress and displayed incredible chops in her moments of rage and fear while she was under hypnosis. I only wish her entire performance rang with similar truth. For me, it did not.

Josh Calbaugh's scenic design was a mixed bag for me. The overall effect was masterful but (and this may sound like a silly criticism) the furniture utilized for the primary action seemed disjointed from the overall picture. It appeared more like "rehearsal furniture" than cohesive and thoughtful to the overall design. His use of sheer fabric panels, screens and simple benches was gorgeous and appropriately evocative, and the effect of Agnes' blood smeared on the sheer fabric that hung upstage in Act Two was an emotionally brilliant decision - whether that credit goes to designer or director, it was theatrical magic. Moira Wilke's lighting design was highly effective and contributed greatly to the dramatic intention of every scene.

Coyote Stageworks has the well deserved reputation of producing the highest level of professional theatre in the desert cities. This production is no exception. Producing Artistic-Director Chuck Yates should be commended for consistently bringing such a high caliber of artistry to The Annenberg Theatre and for continually raising the quality barre for all Coachella Valley theatrical endeavors. I must say I was frustrated and saddened by the low audience turnout for such a stellar cast and such a special production. I urge you to attend this play before it closes on May 1st. It is truly artistic collaboration at its finest.

AGNES OF GOD plays through May 1 at The Annenberg Theatre located at the Palm Springs Art Museum. For tickets or further information visit www.psmuseum.org or www.coyotestageworks.org.

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