Review: Knowledge is Lust in BITE THE APPLE

Do you believe in fate?

Some people do and some don't. Ordinarily, that belief does not make a bit of difference in the grand scheme of the world around them.

In the world of Proper, however, not only is the concept of fate understood to be true, it is followed by almost religious devotion. Infants are briefly seen by a Magi and their future is determined by a single glance. For the unlucky, however, the cards are not dealt in their favor. Those that do not fit the ideals of the Magi are deemed 'fateless' and sent away into exile.

In Broom Street Theatre's latest theatrical endeavor, Bite the Apple, written and directed by Malissa Petterson, a mysterious and genderless fateless unknowingly sets the stage for a coup d'état.

Heather Jane Farr takes the stage as Nameless the stranger who is taken in after nearly drowning outside of one of the fateless camps. Farr, in this role, has an uncanny ability to relate to her other performers. Regardless of the amount of time spent interacting with the others on stage, she takes the moments to heart and creates a genuine connection with everyone. This, in conjunction with her dry humor and spot on dead panning, makes for a spotlight performance.

Standing at Farr's side as her immediate comrade in arms is Alex Brick as Jo. The two have an instant connection that gives their companionship legitimacy from the start. In part from Petterson's teasing dialogue, but particularly from their ability to relate to one another. Which is a stark contrast to the relationship between group leader Maggie (a motherly Heather Renken) and Curl (a resoundingly gruff Donnovan Moen) whose relationship has dwindled because of the world around them.

Visual effects that are not often drawn out at Broom Street illuminated the story as well. Intricately timed sound and lighting effects for moments of gunshots or fire were particularly fascinating. There was not an overabundance of effect, but there didn't need to be. Just simple moments with a few extra spots of color were enough to make this a visually appealing production.

Having premiered in the same week that Target removed all gender labels from its display shelving is an interesting dynamic for this show. Bite the Apple is not just a dystopian fantasy like so many others, it also tackles very pertinent topics of gender and identity. The characters scoff at the idea that one of their own is nameless - let alone genderless. At first it appears to be a major roadblock in their ability to befriend the unknown visitor, but in time it becomes just another detail of that individual's life.

Petterson's play has the makings of something undoubtedly teachable. In a world where the voiceless are being heard while still being misunderstood, perhaps it takes the removal of our own cultural normalcies to see that any facet of identity is just another aspect of life. Not to be mocked, disregarded, or judged, but cherished since it is what makes each one of us our own unique person.

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