Review: NIGHT FALLS ON THE BLUE PLANET Mapping A New World

As the wheel spins and two sisters clomp around the board with their plastic cars playing the game of LIFE, we recognize Renee's own life has much higher stakes ... and she is not necessarily winning at her attempt. She has recently lost custody of her young son and has had to face her ex- at a school disciplinary meeting. The tumblers of whiskey clue us in to deeper problems. Yet Renee herself is oblivious to how pain has marked her, how relationships shaped her, and how opportunities eluded her.

Yet the gift of a massage (which initially worries Renee - with its questions of whether drooling is acceptable and if underwear is appropriate) brings on surprising results. The massage unlocks a vision of paths untaken, a world unseen. Renee is compelled to begin the long delayed, long suppressed process of discovery, of mapping her pain. She enlists others to help chart the revelations.

NIGHT FALLS ON THE BLUE PLANET, a world premiere by Kathleen Akerley, presented by the Helen Hayes Award-winning Theater Alliance, adroitly balances heightened figurative moments with beats of brilliant release of hilarity. Director Rex Daugherty takes care to highlight these contrasts, skillfully using the humor to propel the play forward. Daugherty also choreographed the strong physical elements of the production that make the show so powerful and unique.

The scenic, lighting and sound design are significant parts of the story-telling. The unit set of faux-Pottery Barn and budget bookshelves designed by Paige Hathaway ingeniously transforms, taking on new hues and exposing hidden layers along with Renee's discoveries. John Burkland's distinctive lighting include some wonderful backlit screen effects and a gorgeously memorable final moment that will take your breath away. Eric Shimelonis' sound design and ethereal music compositions bring us out of the mundane apartment and help signpost for the audience where Renee is moment to moment.

Jeanne Dillon-Williams as the central character, Renee, is gritty, troubled and full of wonder. She is emotionally beaten up, but her spirit is not yet beaten down. Dillon-Williams shares a multi-faceted Renee who truly transforms in our two hours together.

Natalie Cutcher as Renee's younger sister, Holly, eased into the role as the play continued, with truer and more authentic connections as the play progressed. Amanda Haddock-Duchemin as the masseuse, Claudia, transitions from the more stylized physical moments to an earthy and accepting accomplice in helping Renee progress.

Peter Finnegan as Daniel (yoga instructor, painter, philosopher and all-around Renaissance man) has flawless tone and timing. He is game for anything and his energy is infectious making the scenes with Daniel especially memorable.

Estranged older sister Annette is portrayed by the superb Kerri Rambow. From the narrowing of Annette's eyes to the set of her shoulders it is clear Annette has had enough of her toxic childhood and she has worked hard to create a different life for herself. In Rambow's capable hands Annette is raw and human. But she is also wildly funny with broad physical humor and expert timing. She brings new meaning to "potty humor" in one memorable scene that brought down the house.

NIGHT FALLS ON THE BLUE PLANET is a wonderful addition to the Women's Voices Theater Festival, the DC-area's celebration of new work by women. More than 50 area theatres (with a huge range of budge sizes, aesthetic vision, and genres) will be presenting a wide array of world premieres by women now through Halloween. The Women's Voices Theater Festival is the largest collaboration of professional theatre companies working in tandem to bring the work of women artists to the fore. NIGHT FALLS ON THE BLUE PLANET was first nurtured, though, as part of Theater Alliance's own Hothouse New Play Development Series last season; the development series allows new work by local playwrights to be honed through dramaturgy, rehearsals, public readings and discussions. New theatre work is a huge risk to present -programs like the region-wide festival or the theatre's own development series are critical investments in making Washington a national theatre force and adding to a vital and vibrant artistic community.

NIGHT FALLS ON THE BLUE PLANET is challenging, lyrical and beautiful, but not completely satisfying. Ultimately Renee's quest is internal despite the painting, reenacting and other clever means to include the audience in her journey. The ending feels abrupt; we don't have all the context we need to understand Renee's decisions. But it is a brave and haunting production that is a pleasure to revisit and puzzle over for quite some time after the lights fade.

Runtime: 2:15 with one intermission

NIGHT FALLS ON THE BLUE PLANET is produced by Theater Alliance at the Anacostia Playhouse, 2020 Shannon Place SE through September 27 (Thursday - Saturday at 8 pm, Saturday and Sunday at 2 pm). For tickets, please visit the theatre's website here.

Photo credit: C. Stanley Photography. (Top: Jeanne Dillion-Williams, Natalie Cutcher. Center: Amanda Haddock-Duchemin, Peter Finnegan, Natalie Cutcher, Jeanne Dillion-Williams. Bottom: Kerri Rambow.)

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