Review: GRAND CONCOURSE at SOUTH BEND CIVIC THEATRE

I find it a shame that plays aren't attended as much as musicals are. While I understand the mindset behind people who would rather gamble their money on tickets to shows that they've heard of before as opposed to ones they haven't, it leaves a great number of people to miss out on amazing storytelling and performances.

I was reminded of this after seeing a Saturday night performance of Grand Concourse at the South Bend Civic Theatre.

For those unfamiliar with this show by playwright Heidi Shrek, it is a show that, according to the summary: "navigates the mystery of faith, the limits of forgiveness, and the pursuit of something resembling joy." All of these themes being difficult enough to tackle by themselves, I cannot express how impressed I was with how masterfully executed director Bo Peterson's production of this show was.

Precision is the key word to describe this production. The setting is a soup kitchen, which leaves for impressive multitasking by the actors. It is enough of a challenge to try portraying these complex characters, but then the actors also cut potatoes, make eggs, microwave soup, as well as countless other tasks without batting an eye.

Speaking of actors, this show has only four. Yet each one of them hold their own on stage and work off of each other naturally and refreshingly.

Laurisa LeSure plays the protagonist of the story, Shelly, a nun who works at a soup kitchen and struggles with prayer. LeSure doesn't spare any attention to detail in this performance: from subtle touches like humming 'God help the Outcasts' while moving incessantly around the kitchen, to the believability in every movement and facial expression. She drives this show and its central conflict and without breaking a sweat.

The other characters in the show are equally as fascinating. Such as Emma, played by Mariah Donley, who is a perfect example of a self absorbed yet legitimately troubled College dropout. Donley pulls off the Millennial persona accurately without leaning too far into any stereotypes. However what she gains in cunning charm, she lacks in emotional drama. The serious and more sorrowful moments she has in the show feel dry, but outside of that, she gives a respectable performance.

The other two characters are Oscar, played by Shayne Inez, and Frog, (yes, his name is Frog) played by Vincent Bilancio. Both act as comedic relief, while also maintaining the emotional aspect of their character. Bilancio's performance notably is impressive with how he layers his homeless character from rude and menacing to a man full of wit, charm, and genuine heart.

Inez has a fun time playing the entertainingly realistic Oscar, but slips in and out of his latin accent a couple of times which can be distracting.

One of the main show-stealers is the set. Kyle Chamberlin's execution has no right to be as amazing as it is, seeing that the whole show takes place inside a soup kitchen: working microwave, sink, stove, and all the works. Subtle touches and additions in the set let the audience never tire from gazing upon it.

Overall, Grand Concourse is an admirable production to start off Bo Peterson's USA career as a director. Precise in every sense of the word, and well-delivered dialogue that adds to a refreshingly natural feel. I look forward to seeing every person involved in upcoming productions.

GRAND CONCOURSE continues performances through April 21, 2019 at the South Bend Civic Theatre. Tickets are available at the South Bend Civic Theatre, online at www.sbct.org, or by calling (574)234-1112.

Photo Credits: Chad Weaver

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