BWW Reviews: Shinn's Blistery DYING CITY Has West Coast Premiere at Rogue Machine

Dying City/by Christopher Shinn/directed by Michael Peretzian/Rogue Machine Theatre/through July 8

In Dying City, now in its West Coast premiere at the Rogue Machine Theatre, Christopher Shinn examines the devastating effects of the Iraq War on the American soldiers who participated in it and more urgently on those they left behind. At the core are Kelly (Laurie Okin), the wife of a deceased soldier, his identical twin brother Peter (Burt Grinstead) and in flashback, the deceased soldier/husband/brother Craig (also Grinstead).

A year after the funeral of Craig, whose actual death was shrouded in some mystery, Peter, an actor, now residing in New York and essaying a role in an off-Broadway production of O'Neill's Long Day's Journey into Night, pays an unexpected visit to his sister-in-law Kelly, a therapist by profession. Craig's abrupt passing has darkened both of their lives and Peter wants to comfort Kelly, but also has a selfish reason for dropping by. Kelly is uneasy and reacts negatively to what she considers an intrusion into her already troubled life. Whereas Peter wants to share and discuss e-mail notes Craig wrote to him from Iraq, Kelly refuses. The war put a damper on their marriage, as Craig had lost any desire to love her. Insecure Peter is gay, with personal issues of his own, and his excess baggage does not assuage Kelly's deep-seated pain. Intensifying the situation, the e-mails contain a secret from Craig, which when finally revealed to Kelly, make her enraged and averse to both Craig and Peter. It's a heavy play with layer upon layer of pain, for both Peter and Kelly, as it turns out, were victims at a young age of abuse at the hands of their fathers. A victim of abuse, like Peter, often suffers from Post Traumatic Stress Disorder (PTSD). He seems sympathetic at first, but his poor behavior adds increasing harm to the already victimized Kelly whose duties as a therapist are placed in jeopardy. She cannot help herself, let alone Peter or any of her patients.

Under Michael Peretzian's taut direction the acting from both Grinstead and Okin is outstanding. Grinstead proves an extraordinary revelation as he closes a door as the weak Peter and reappears seconds later as the tough yet troubled Craig, hardened by the ravages of war and personal turmoil. This happens many times throughout the 90-minute play with Grinstead nailing the physical aspects of both characters through the adept manipulation of his voice and the utilization of subtle body movements. But it's the emotional conflicts of both men, which are in a constant state of flux, that are most challenging to convey, and again Grinstead hits the mark. Definitely an actor to keep your eye on! Okin is a marvelous reactor and when confronted with Craig's written confession, she goes into a kind of asthmatic frenzy which she executes quite amazingly. Tom Buderwitz has done it again, expertly creating a loft apartment in the Village, unmistakably detailed within the confines of the small stage.

Dying City takes its meaning from Craig's description of Iraq during the American occupation, but its symbolism may be extended to include any place whose victims face consistent threats. A play of great complexity and sorrow with little humor, yet totally worthy of your attention!

http://www.roguemachinetheatre.com/

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