Review: The Repertory Theatre of St. Louis Presents Powerful Production of HIGH

There's a moment in playwright Matthew Lombardo's play High when Father Delpapp asks the coarse and tough-demeanored Sister Connelly why she became a nun. Her answer is telling, because it's not the typical selfless response you might expect; she's seeking redemption and forgiveness for her transgressions in life. It's something each of the three characters in this story is looking for in their lives, and it acts to make each of them seem all the more human and flawed. The world premiere of this brave new work continues its trek toward Broadway with a run in St. Louis, and this presentation by the Repertory Theatre of St. Louis is a dark and unsettling triumph, powered by bravura performances and sharp, incisive direction.

When drug addict and hustler Cody Randall is found in bed with a 14 year old boy who's dead from an apparent overdose, he's allowed the option of rehab over jail time due to a lack of sufficient evidence to prove him culpable. Father Michael Delpapp places him in the hands of foul-mouthed Sister Jamison Connelly in an attempt to get him clean and on the right path, but Sister Connelly senses correctly that there is something more going on beneath the surface, since Cody appears to be a particularly poor candidate for rehabilitation. Reminded by Father Delpapp of her own recent struggles with alcoholism, Sister Connelly reluctantly plunges into therapy with the disturbed youth. Despite the fact that she is able to gain his trust, Cody relapses and makes a clumsy attempt at raping her, which in turn causes Sister Connelly to delve deeper into the cause for Father Delpapp's concern.

Kathleen Turner anchors this production with her powerhouse portrayal of the troubled Sister Connelly. It's a really juicy part, packed with a tragic backstory and plenty of detail, and Turner sinks her teeth into it, fully invested in the role and riveting throughout. Most importantly, she allows the audience to empathize with her character as she struggles with the secrets that come to light, so that when she feels punched in the stomach by Cody's drug-induced repentance, we do as well.

Evan Jonigkett is amazing as Cody, affecting the mannerisms of rebellious youth, and filtering them expertly through a chemical haze. His disaffected tone perfectly suits the character, and he also lets us see the despair beneath the tough facade. Jonigkett does brave work here, baring himself completely during the rape scene, but exposing himself emotionally on more than one occasion. Michael Berresse is also strong as Father Michael Delpapp, projecting an outward air of confidence in the power of faith and Sister Connelly to aid this young man, but allowing the chinks in his armor to peek through.

Rob Ruggiero's direction is masterful, keeping the action clearly focused and allowing the performers to tell the story. He's aided greatly by the stark scenic design of David Gallo, and the fitting and unobtrusive costumes designed by Jess Goldstein. John Lasiter's lighting design also adds clarity by neatly framing each moment for maximum impact. Vincent Olivieri's sound design and compositions add a melancholy Bill Frisell-like feel that complements the mood well.

The Repertory Theatre of St.Louis has provided St. Louis audiences with a chance to witness a play as its staging is shaped on its journey toward Broadway, and the results are must-see viewing. This production of High, which features an exceptional cast and brilliant direction, continues through November 7, 2010 at the Loretto-Hilton.

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