BWW Reviews: Elevator @ Macha Theatre Offers Stimulating Ride

Elevator

written and directed by Michael Leoni
Macha Theatre
through December 19

It amazes me that a play has not been written before about a cross section of people getting trapped in an elevator, as the potential for drama is limitless. People have a tendency to open up as never before when they face calamity, and, with this in mind, Michael Leoni goes the distance theatrically in Elevator, now in its fourth incarnation, this time around @ The Macha Theatre. Its electric ensemble cast and nonstop fluid action should keep most audiences glued to their seats.

Being scared out of one's wits will undoubtedly cause untapped emotions to manifest themselves, and so an egocentric/supposedly together business man (Jade Carter) suddenly whines and complains about everybody and everything, showing the world his private insecurity. Friction caused by jealousy between attractive women (Erica Katzin and Karlee Rigby) surfaces and an unhappy CEO and former alcoholic (Deborah Vancelette) gives in to more than one addictive temptation. Anything can and does happen. Then there are secrets that get unwillingly unlocked as in the case of maintenance man (William Stanford Davis) or goth girl (Rachael Page). There's always one who manages to stay composed and help to cheer others, like the musician (Mikie Beatty). It's an eclectic assortment of folks whose individual needs get more attention than usual, like in a big therapy session. Although the confinement creates unexpected delay and discomfort, on the positive side the scenario does manage to engender some positive, life-affirming alterations for its victims' individual issues.

It's hard to deny that the plot of Elevator is contrived and certain resolutions ready made as in a sitcom, but Leoni has managed to compose gritty, realistic dialogue and very real reactions that everyone can identify with. These are real people and the actors playing them never step out of bounds. Each character, through the writing, acting and directing, comes vividly alive. Katzin's fatty Patty is sheer delight in its openness. Page's closed-in sadness and turmoil are palpable. Carter's complete transformation is miraculous, as is Davis' consistently quiet gentility. It is easy to understand how the work first started as a short film, as it would adapt quite well cinematically. Music can make a situation fake or akin to a fantasy, but the original songs by Mario Marchetti seem natural and blend right in with the overall therapeutic nature of the piece.

David Goldstein's set and lighting and John Toom's tech direction are spot on perfection. Leoni directs his own work sharply and flawlessly with an upbeat tempo/pace that makes the whole play simply soar.

This is a very entertaining, optimistic and satisfying evening of theatre that you cannot afford to miss! For theatre aficionados, it's a rare chance to see raw nerve exposition by a fantastic group of actors.

 

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