Town Crier Speaks in a Variety of Tones

This past weekend, the University of Puget Sound Student Theatre Productions ran the ninth annual production of Town Crier Speaks in Rausch Auditorium.  As the name suggests, this festival of one-act plays is entirely produced by students of the University: this year, six plays were selected, each written, directed, and acted by students (some members of the Theatre department, others non-major enthusiasts) with a production team of experienced upperclassmen Theatre Arts Majors.  Considering the variety of students participating in the project, this production is far from amateur.  Although some scripts, directors, and actors are more sophisticated than others, the production as a whole makes for a successfully entertaining evening.

The show opens with the challenging “Coroner Elections,” written by Hayley Hilmes and directed by Lizzy Burton.  Miss Burton directs her actors magnificently in navigating the balance between discomfort and humor.  Grace Libby, acting the part of Johanna Crawford, exhibits outstanding command of her own facial expressions, completely engaging the audience in an otherwise off-putting treatment of the duties of a County Coroner.  As an opener, “Coroner Elections” is particularly successful in setting up the audience for an evening of discomfort-based humor.

Nolan Frame’s directing debut, “The Race,” similarly ruffles the audiences’ feathers as seven sperm race toward an egg—but writer Georgina Cohen’s characters are so distinct as to complement the context, granting it an audience of more than teenage boys.  Although most of the actors playing sperm demonstrate a stiff amateurism in the delivery of their lines, senior Jarek Sarnacki throws caution to the wind and engages his whole body in his part as a double-headed sperm.  Sarnacki carries the show, filling gaps in pacing with lines as well as succinct physical reactions.  Despite the overall comparative lack of sophistication in the performance of “The Race,” the Cohen-Frame creative team entertains audiences in their spin on the characterization of the human reproductive process.

Closing the first half, however, Joey Fechtel’s “Thermometer” fails in any attempt at theatrical integrity or humor.  Fechtel’s script lacks any semblance of a dramatic arc, with interchangeable characters and an abrupt and ambiguous shift in the last thirty seconds of the show.  The writing is weak to begin with, but Courtney Weller’s direction provides nothing less than ten minutes of exaggerated fit-throwing verging on annoying whines.  Weller seems to have selectively embraced the persona of a noisy elementary school-age child and instructs her actors to stomp around and yell incomprehensibly to their hearts’ content.  The sheer noise of the three-actor show combined with Weller’s extensive floor work in a performance space with severely limited floor visibility for seats beyond the first two rows makes audiences anxious for a break.

After a brief intermission, the second half of Town Crier  compensates for the slow start, as the sophistication of both the writing and the acting drastically increase.  Caitie Auld’s “Did Someone Order A Chicken Wrap?” showcases senior Theatre Arts Major Jesse Baldridge in the lead role of an office receptionist in a trying first day on the job.  No stranger to comedic acting, Baldridge employs his entire being in the character Mike, from his frustrated ticks to his hesitating speech.  The pinnacle of Baldridge’s performance, however, is of course, his slow-motion cell phone retrieval and destruction.  This fifteen-second sequence not only demonstrates his command for physical comedy, but also keeps the audience in stitches and earns him a round of applause mid-show.

While “Did Someone Order a Chicken Wrap?” is completely carried by the exemplary main actor, the next piece, “The Surprise Party” relies more on situational humor in the writing and a cohesive ensemble to captivate audiences in laughter without an opportunity to die down completely before starting up again.  Writer Taylor Griffin never shies away from the discomfort of the misguided surprise party, and under Abi Dehner’s direction, the actors relish each agonizing moment of misunderstanding.  If any actor in this show can be commended above others, it is Joshua Willis in his understated stage presence, earning the audience’s sympathy and completing the hilarious irony of “The Surprise Party.”

The highlight of the entire production, however, is rightfully placed at the finale: Rollie Williams’ delightful frolic into history, “Independence,” is performed with precise characterization intended for an educated audience.  Director Hayley Hilmes had her work cut out for her with Williams’ clever script incorporating the challenges our forefathers faced when composing the Declaration of Independence.  Hilmes deliberate staging only aids the distinct characterization by each actor.  Matt Hudgins, for example, spares no opportunity for sexual ambiguity in his over-the-top portrayal of George Washington, lingering just long enough in his gazes at the other gentlemen to keep the audience in stitches.  Sophomore Theatre Arts Major Michael Armstrong conveys a comprehensive approach to his characterization of Thomas Jefferson, bridging the gap between realism and comedy with grace as he jeeringly provokes John Adams’ (played by Reeves Richards) proposal for the substance of the document.  Most commendable of all, however, is performance of senior Reeves Richards in his acting debut.  In his portrayal of John Adams, Richards demonstrates an unbelievable stage presence in one so inexperienced.  Richards thoroughly entertains in his unwavering persistence that the Declaration of Independence should consist of the phrase, “Suck on it, Redcoats” as well as his commitment to the belief in Washington’s heterosexuality.  The amalgamation of Williams’ brilliant script, Hilmes’ precise direction and a stellar cast foreground “Independence” as the crown jewel of this year’s Town Crier production.

As a product of University of Puget Sound’s Student Theatre Productions, it is only appropriate that a wide variety of student experience and talent is represented in this year’s Town Crier Speaks.  Producers Ella Wrenn, Taylor Griffin, and Daniel Smith expertly integrate each student contributor in the festival.  And although some students lack expertise in the theatrical realm, the student-produced outlet provides just the opportunity to develop those skills.  The ninth annual Town Crier offers such a spectrum of entertainment for an unbeatable price—no Puget Sound Theatre fan should miss this festival.