Review: Orlando Shakes Rings in the New Year with Brilliantly Scripted DANCING LESSONS

Going to the theater is an intimate experience. We are pulled out of our everyday lives and isolated realities to immerse ourselves collectively in a story. We give over the reigns of control for a set amount of time and just absorb. On rare occasions, we find a story that moves us so thoroughly that we see the world from a different perspective when we awake from the dreamlike state. Mark St. Germain's latest masterpiece, DANCING LESSONS, is one of those compelling stories. It opened at the Orlando Shakespeare Theater this weekend with sold out performances.

The plot is essentially easy to follow. Ever Montgomery (played by Steven Lane) is a professor terrified by his upcoming scheduled appearance at an award banquet. His fear stems from various physical and emotional symptoms related to his having Asperger's syndrome, a high functioning form of autism. He boldly enlists the assistance of his neighbor, Senga Quinn (played by Ginger Lee McDermott), a Broadway dancer suffering from depression due to a recent and devastating leg injury. The two push through their insecurities and fears as Ever learns how to dance and how to love in this romantic and tender dramatic comedy.

While St. Germain usually envelops us in a world of historical fiction (e.g., BEST OF ENEMIES and FREUD'S LAST SESSION), DANCING LESSONS is a new play of relatively pure fiction. The notable exception being the playwright's interweaving of social commentary concerning some of the most important issues facing our planet today, such as global warming and deforestation. We are also afforded the opportunity to learn a great deal of information about autism and Asperger's syndrome. Witnessing a beautifully written fictional work that includes thought-provoking, factual material feels like eating two desserts after dinner when you can't decide between your favorites.

The play is directed by Cynthia White, who also just accepted the role as Director of New Play Development at Orlando Shakespeare last August. White's direction creates a captivating environment from everyday experience and she makes clever choices to use the stage to its full capacity throughout the performance. Despite a 105 minute runtime without intermission, I was hooked throughout the show and never felt the pressing need for a break. This is noteworthy since I am usually of the mindset that any show over 90 minutes should have a pause. The script just didn't need it and in fact, may have been hampered if one were included.

Local audience favorite, Steven Lane, appeared last season at Orlando Shakespeare in A CHRISTMAS CAROL, as well as previous seasons in THE LIFE AND ADVENTURES OF NICHOLAS NICKLEBY and INTO THE WOODS. I recently spotted him playing Dr. Neville Craven in THE SECRET GARDEN at Mad Cow Theatre as well. Lane's Ever Montgomery authentically draws us in from his first moment at Senga's apartment door. His quirky movement, innocent frankness and genuine desire to be loved are extraordinarily endearing throughout the play. Lane's thoughtful decisions with the role left me feeling anxious when he was anxious and sad when he was sad. What is it like to function in the world through the lens of someone with "high-functioning" autism? As audience members, we are offered a glimpse as Lane incredibly captures the complete range of idiosyncrasies associated with Asperger's, such as the unstable eye jumping, awkward hand movements and contrived speech. We are allowed to feel Ever's fears, and experience the confusing highs and lows as he navigates his first real bond with a female.

McDermott is entertaining as the disgruntled and bitter Broadway dancer. She is in a state of thorough anger through most of the show. While I was left wanting a bit more natural flow in her reactions and softness towards Lane during their intimate encounters, McDermott is clearly comfortable on stage. Her dancer-like body type and headstrong personality help make the plot come to life.

Lane and McDermott had their most sincere and connected moments in the last half-hour of the show. In the scene where Senga is helping Ever handle and adapt to human touch, McDermott opens up and taps into her underlying warmth. She also reaches the audience as she digs beneath the surface to describe Senga's family history. We can all relate to imperfect parents and the scars that result, and McDermott really seems to pull from an authentic place as she reveals Senga's childhood emotional trauma. Lane portrays a tender vulnerability and perfectly captures Ever's lack of confidence with intimacy. He moves with an innocence that we typically only associate with children. This clearly had a powerful effect on the audience.

The set for DANCING LESSONS is outstanding and consists of Senga's carefully planned and craftily engineered New York apartment. Steven Mitchell, Scenic Designer, really nailed it with the musical theater paraphernalia, decor choices and overall feel. The costumes, designed by Kristina Tollefsen are simple and appropriate, leaving nothing to be desired. Sound design, led by Britt Sandusky, was absolutely flawless on Saturday night as well.

Mark St. Germain's brilliant script created rolling audience laughter in each scene. It includes moment after moment of interconnected engagement where audience members found themselves nodding in agreement over a line delivered in humble truth. This is the magic we desire when we buy a ticket for a live show... and you don't want to miss this one. DANCING LESSONS is playing in the Goldman Theater at Orlando Shakespeare Theater from now until February 7, 2016. Tickets range from $21 to $46 with discounted pricing for seniors, large group sales and a special $25 under 35 performance on January 22. The show is appropriately rated R for adult content. Visit www.orlandoshakes.org to reserve your tickets today, as this show is sure to sell out quickly.

Photo Credit: Tony Firriolo | Orlando Shakespeare Theater

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