Review: SHUNNED at Palm Canyon Theatre

Upon sitting down to see Palm Canyon’s newest production, "Shunned" written by Larry Parr, I was admittedly ignorant of what I was about to behold.  Half of a duo of plays scribed by Mr. Parr and directed by Judith Chapman, “Shunned” and its partner work “Sundew” (which I unfortunately was unable to see) was an intriguing stage challenge.  Utilizing the same set and separate casts on alternating days through October 13th, the shows sport the finest tradition of repertory summer stock in their complexity and synchronicity. 

“Shunned” offers a compelling exploration of the Amish way of life, juxtaposing tradition against the inevitable pull of modernity. The nuanced performances of the cast bring depth to characters who are wrestling with the desire to honor their heritage while confronting personal dreams and societal change.  Director Judith Chapman admitted these works were a passion project for her, and it showed.  Each character was fully enveloped in their roles and their places in this universe and the universe itself was lush in its simplicity.  If this feels like I’m playing opposites with language in its description, that is the best way to describe the experience.  Ms. Chapman, a skilled hand as a veteran Director, showed her understanding and commitment to this work and kept fine balance with the humor and the heart-rending pathos that kept audiences on the edge of their seats.

The play revolves around the elder son of the Yoder clan, Levi, played delicately yet with burgeoning strength by Joshua Rach. Levi's internal conflict captures the universal theme of self-discovery and the courage it takes to forge one's own path. A “good” Amish young man approaching his manhood and being admitted fully into the church and adult life, Levi knows his duty: to marry well, love God and honor his community through strict adherence to their code of behavior.  But Levi is different, he doesn’t see his God as a stern dictatorial deity, but rather seeing God in the beauty of nature all around the land he loves in all its forms. He also has discovered a growing passion that would put him at odds with his people, theatre.  If simple living is the way of the Amish, live theatre would be the anti-thesis.  Mr. Rach’s evolution through the course of the text from meekly obedient boy to stalwart man was remarkable.

Patriarch Aaron Yoder, portrayed with growling power by Michael Pacas, epitomizes the struggle to maintain strict adherence to Amish customs, serving as both a protector and an obstacle to his son Levi's burgeoning curiosity about the world beyond their insular community. Mr. Pacas brings a sense of warmth through the steely exterior of Aaron when his family doesn’t tow the incredibly taut line.  He understands his world and his place in it.  He is baffled when everyone else doesn’t share that worldview and it is his job, as Papa, to whip them back into shape.  Not by the lash, that is not the Amish way in this telling, but through the use of the “shun”.  “Shunning” in a tight knit isolated community is an equivalence to solitary confinement.  The “shunned” are punished for a transgression, of varying lengths depending on the offense, by no one in the community being allowed to speak to them, sit with them to eat, or regard them in any way and the transgressor cannot attempt to talk or engage with anyone until their term is concluded. The practice looms large in this story as cause and effect to the orientation of the conclusion.  Mr. Pacas portrayal is rigidly restrained, painfully at times, with half the battle being internally fought.  The viewer feels sympathy for the man who is also causing them indignation at the same time.  Seeing the character break is, indeed, heart-rending.  Watching him rapidly rebuild the stoic façade, even more so.

The play also delves into the complexities of family dynamics, particularly through the character of “Mutter” Katherine, played by Janice Lynde. Her past as an acclaimed painter in the outside world and her ongoing quest for acceptance amongst the Amish highlight the sacrifices many make for family, while questioning whether such sacrifices are truly reciprocated or appreciated. What I found engaging about Ms. Lynde’s performance was that much of it was occurring silently, inside the “house” while the main focus was in the courtyard of the set.  Never a moment lost as she tidied the house, performing household chores and having moments of reflection and her interactions with the one item remaining from her storied past, the final painting she finished before marrying Aaron and moving into exile.  When family drama draws her into the spotlight, she shines as a woman who, while she loves her husband and her family, feels the inexorable pull of her art and her need for self-expression even if viewed from a darkling glass.  Her scenes with her son definitely tell us where his theatre bug originated from.  Conversely, her scenes with daughter Mary, who hews more closely in temperament to her father here played by Jessica Lenz, showed an awkward disconnection of mother and daughter; disparate souls who haven’t found a connecting thread.

Ms. Lenz's portrayal of Mary adds a layer of innocence and humor, yet her actions inadvertently catalyze pivotal moments in the narrative. Playful and a little mischievous, Mary is a ray of sunshine as she streaks across the yard, teasing her older brother (and truest friend). She is a true innocent who yet pays the biggest price of all.  Meanwhile, the presence of Sarah Miller, played by Sonia Reavis, and the outsider Gary Smith, brought to life by David Brooks, introduce elements of tension and intrigue, emphasizing the consequences of diverging from community norms.  Ms. Reavis plays the bossy hausfrau well here (in the most complimentary way possible).  A foil for Katherine, Sarah is purported to be the Amish woman to be.  I wasn’t the only one who felt that she had designs on Aaron, since she is a widow. Everyone loves her food and her earth motherly ways while treating Katherine as an interloper in her own home.  Katherine is “English” (aka Outsider) , the community will never accept her as a true Amish.  True outsider, local bed and breakfast owner Mark, here played with flair and color by David Brooks, gave Levi a confidant and a kindred spirit outside of the confines of the community.  Mark and his partner (who we don’t see) are gay and are theatre fanatics who open a whole new world when they invite Levi to “Rumspringa” in New York City.  This term references a time that Amish young people can take before choosing to return to join the insular adult community, where they can explore the outside world and all it has to offer, i.e. sowing their wild oats. Mr. Brooks added just enough sparkle to contrast with the monochrome tone of Amish farm life while keeping Mark a human being.  Thank you for that! It would have been so easy to lapse into something campier, but that is not where this story goes.

The third wheel of this production is in the role of Gary Smith, formerly known as Amos Bontrager, a shunned expatriate of the community, played with wild, unmitigated rage by Jackson Enzler.  A young man who has no home, no world to belong to, he was ousted from this community after a robbery he committed led to the death of Sarah Miller’s husband (not due to direct action but causal effect, had a heart attack chasing him down). Mr. Enzler’s portrayal was combustible and out of control, a blind drunk who was screaming for help, for forgiveness, for anything but the waking nightmare he was living.  His actions cause irreparable harm yet, his pain was palpable and, yes, pitiable.  Olga Morales had a bit part here as a “English” tourist who is flashy, disruptive and disrespectful as only a tourist can be.  Her misplaced tube of lipstick causes a whole lot of trouble!

The threat of shunning looms large throughout the play, serving as a potent reminder of the power—and pain—of exclusion. Larry Parr's script, under Judith Chapman's astute direction, gradually builds momentum, culminating in a climactic twist that challenges both the characters and the audience to reconsider the true cost of isolation and conformity.  JW Layne’s set was clean and stark, yet worn and lived in, coupled with his lighting design which was vivid in the best imitation of the outdoors of farm state Indiana.  Nick Edwards’ excellent projection design really outdid himself here.  Not so much in complexity, it was the same scene throughout the show, the view from the Yoder’s farm down valley, but in his passage of time and the hue of nature at different times of day that were impressive.  Derik Shopinski’s costume design was on target, as usual and Joyanne Tracy’s properties were too.  Tremendous points to the sound design and the music selected both beautiful and apropos.

I would be remiss is not mentioning the second half of this double run, “Sundew”.  While I cannot render a review, having not been able to see it, those who did, have been as complimentary in its story and execution as this has been.  Featuring Corbett Brattin, Christopher Lopez, Georgia Smith and Denise Strand, this story centers around an older woman (Denise Strand) who owns a piece of land that she believes to be the mythical Eden and has found this plot has plants and animals, many of which were thought extinct.  She sees the hand of God in this, her daughter Alice (Georgia Smith) thinks she has lost her mind.  Whether this land really is Eden, only the viewer of the show will be able to determine.

If you are seeking stories with a strong moral center or something that will give you pause for thought, Catch “Shunned” and “Sundew”.  But you will have to hurry, it only runs for one more weekend!   

“Shunned” runs Thursday, October 10 at 7:00p.m., Saturday, October 12 at 8:00 p.m. and Sunday, October 13 at 2:00 p.m. “Sundew” runs Friday, October 11 at 8:00pm and Saturday, October 12 at 2:00PM. Tickets can be purchased ONLY at www.palmcanyontheatre.net or by calling (760) 323-5123.

Next up on Palm Canyon Theatre’s 2024-25 season slate:

La Cage Aux Folles (Oct 25 – Nov 10) Palm Canyon Theatre will whisk you away to Paris and a night of glamorous drag and storytelling as you enjoy the incomparable La Cage Aux Folles! Based on the 1973 French play, this glitzy musical is set in a Saint-Tropez drag nightclub run by Georges and his partner Albin (AKA Zaza), the star performer. When George's son (fathered during a one-night fling) brings home his bride-to-be and her bigoted politician father, farcical adventures ensue as they dance around the “family business.”

Mary Poppins (Nov 29 – Dec 22) This musical invites audiences to London, England in 1910 where the magical Mary Poppins flies in on the wind, bringing with her a combination of whimsy and disciplined common sense to the Banks children’s lives. Together, they go on many fantastical and memorable adventures. Mary Poppins teaches all ages that “anything can happen if you let it.”

A Very Sordid Wedding (Jan 17 – 26, 2025) It's 2015, seventeen years after Sordid Lives and Peggy's unfortunate death, after tripping over G.W.'s wooden legs, and life has now moved on for the residents of Winters, Texas. A Very Sordid Wedding explores the questions, bigotry and the fallout of what happens when gay marriage comes to communities and families that are not quite ready to accept it.

To post a comment, you must register and login.