Review: A BLISTERING “BLACKBIRD,” WILL LEAVE YOU BREATHLESS at THE OFF-CENTRAL PLAYERS

“You were sick of being a child. The last thing you wanted was to be told you were a child...” -Ray

“What could I have possibly given you, given you that wasn’t my twelve-year-old body? What else could you have wanted? There was nothing else...” -Una

In researching and marinating the events that played out in my head following the opening night performance of the Off-Central Player’s production of David Harrower’s Blackbird, I ran across this quote. The quote in which I will speak about is actually fitting to the play itself. I’m going to post it now as a way to reflect and then continue with my thoughts on the show itself.

The quote states,

“The best theater teaches again and again that before one can truly love another, one has to find justice and connection with oneself.”

Interesting indeed. Allow me if you will to further dive into this as we discuss the play and production itself.

You see “Blackbird,” is an interesting title for the play. Although many fans of Harrower’s work know he will not go into detail about the interwoven complexities of his show, but rather he chooses to classify it as a “love story between two people who happened to experience a life-changing event together.”

Blackbird or reference thereof, refers to many things throughout philosophy, religion, and even popular music.

In the Bible, there are references to “Blackbirds” as a means to not only pick out the eyes of those whom are evil, but also referenced as symbols of peace. In popular music, “Blackbird,” as referenced in the song made popular by the Beatles, was written in support of the Civil Rights Movement, herein “Peace.”

In its deep complexities we see two individuals significantly older in the present than the time of the events described that would change their lives forever. Ray, now 56, and Una now 27, a mere 15 years following the events, are in an office breakroom. The ups and downs of the story show the lengths that two people go, not by way of revenge, but rather understanding and ultimately, hopefully, forgiveness.

At the time Una, was only 12, was plagued with grief and grandioise on this idea that Ray, then 41, abandoned her, following the events. To acheive her commuppance, Una confronts Ray 15 years later in hopes to come to a common ground as to why he disappeared. What she finds in her wake is the shell of a broken man. A man just broken, and riddled with grief, as she has spent the last 15 years.

The only difference between the two, is Ray got out, Ray changed his name. Una was stuck, Una was riddled with anxiety, and anguish, so much so, that she could never truly feel love for another person. Remaining in isolation. Ray never truly got out though. Ray too was in isolation, upwards of six years to be exact. now the question remains, did Ray ever, truly grow up, or is this “Peter Pan,” complex, this idea that he “steals” the innocence of young girls, just so he never has to grow up, does that become Ray’s ultimate absolution?

There is power in an apology, and the lengths one will go to get there, shows the depth of their condition. No matter the length or the brevity of the situation, with an apology there is a sense of healing. One can hopefully, ultimately move on, with scars, yes. However following the scars one will hopefully find a new sense of growth, of purpose, confidence, and hope for the future. In the dramatic confrontation between the two, Ray ultimately submits his apology, lets Una know that he did not abandoned her. Not entirely anyway. Its that her perception of the events were unclear, and clouded by the traumatic nature of the situation. While in isolation, Ray wrote her letters that were never sent, for reasons undisclosed.

“I made the biggest most most stupid mistake of my life...and that I pulled myself up. I, I got back on track. I, you laugh. You don’t belive it. That’s fine. It’s fine with me. I don’t need you to.” -Ray

The Off-Central Players open their fourth season with a powerful, gut-wrenching, and searing expose on the life of the abused/abusee.

At its helm, are two of the most gripping performances I’ve seen to date. The powerful chemistry between Ward Smith and Mackenzie Aaryn will leave you on the edge of your seat.  Director Alan Mohney Jr. developed a perfect duet masterclass in these two performers.

As Ray, Ward is at his best. He’s vulnerable and nuanced, and seeking retribution all at the same time. I have seen Ward in some dynamic roles, but this might be his strongest, most developed work yet. You hate him, until you learn of his plight for apology. The walls crumble and you see a broken man bearing his soul, at the hands of the last person you’d think would ever allow themselves to forgive him. Ward bares his soul here and its truly powerful work. There’s a moment late in the show, where an altercation with a garbage can, pulls every ounce of air out of the room, and it needs to be experienced for its power.

Then there’s Mackenzie Aaryn, as Una. Like lightning trapped in the tiniest of bottles just waiting to explode, Mackenzie leaves nothing in her wake. You feel her pain, her abandonment, her lost sense of self/worth, as if she is experiencing the events all over again in real time. Her performance is earth-shattering, and the layers in which her character develops throughout the show will leave you speechless. To be in her company in her aura, for even a brief amount of time is a luxury one should be so lucky to experience. Her Una is going down in my books as a top-tier contender for performance of the year.  Nowhere have I experienced a performance so unbridled, so devoid of human contact that its written on her face, and in her eyes, her Una is as broken and wounded as they come. It’s in her strength that we see the true power of her character. There is a moment late in the show, where she screams, and the ache you hear, will break your heart in two. Her deliverance is that powerful. If you research the name Una, you will find it in Latin derivitive, with a meaning, “one,” for Una is every child’s longing to be the loved and cherished one of the family. All I can say is revel and cherish the time you have with this character, Mackenzie, because this is one performance that will go down in history, and one I will be talking about, for much time to come.

Director, Alan Mohney Jr., does his finest work here with these two dynamic performers. Some much tension, so much drama, and the focus of a blistering 75 minutes, lying soley on the shoulders of two performers. The labored nuance developed in the relationship between these two characters is spellbinding. The story grips you tight and never releases, leaving gasping for air in its final moments. Alan pulls everything out of his performers and everything is left on stage, for the audience to pick up the pieces. Incredible work, expertly handled, masterfully crafted, intimacy perfectly in tune with the story, making this a jaw-dropping expose. Technically sound from set design, to lighting, to sound, Alan Mohney Jr., Michael Horn, and Johnny Garde are the perfect team to handle this incredible piece.

The Off-Central Players, open their Fourth season with the thrilling, jaw-dropping expose, “BlackBird,” helping us discover the true depths of the human psyche when it is pushed to the limits, and the lengths one will go for forgiveness. Partnering with the Suncoast Center whom lead Talkbacks following the performances, The Off-Central Players have produced a stunning opener, that cannot and should not be missed. Great theater is theater that teaches, and David Harrower’s Blackbird, should be on everyone’s lesson plans. For tickets visit www.theoffcentral.com.

PHOTO CREDIT: STAGE PHOTOGRAPHY OF TAMPA, SPOT, LLC.

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