My overall impression
FULL DISCLOSURE: I know, love, and have worked with many of the artists in this show. I also know, love, and have worked with many of their unearthly talents and sensibly human habits over the years. It would be as easy to shower praise on these beautiful souls as it would be to harp on their foibles. That being said:
BY ALL THAT IS HOLY, SEE THIS SHOW.
Fringe is nearly over, this show closes tonight, I take full responsibility for not leaving my apartment sooner, but this show must and should and will be seen, and the Fringe cast is, by far, the best embodiment this text could hope to find.
Meghan Brown’s script is rich and luscious, moving and incisive, witty and unutterably sad. The setting is ingenious, the exposition minimal and deeply felt, and the story unfolds so simply, so beautifully, that Ms. Brown achieves in an hour what lesser writers fail to do in 13-episode seasons. I hung on every word, I thrilled with the actors in their discovery of a potent and comfortable poetry, and I got chills as the text twisted and turned in ways both surprising and completely human. Ms. Brown has a mighty voice, one that hints at an ability to communicate the human experience, onstage, with a mastery that seems increasingly rare (especially in Los Angeles). This play, brief though it be, will be performed long after Fringe 2013 dims its last light.
The words blossomed and twined and exploded in the hearts and bodies of an unbelievably capable cast. Mercedes Manning is captivating as Meredith, exploring with simplicity and depth the implications of eternal love. Jim Senti is a powerhouse as Charlie, a virtuoso of pathos and comedy that moved the audience to laughter and tears in equal measure, cutting deep with honesty and vulnerability. Jason Vande Brake’s JW was profound and powerful, daring and courageous in his ability to share a love that transcends the afterlife. Sage Simpson’s Eunice was beautiful, earnest, equal parts determination and desperation. Rachel Grate’s Administrator not only wonderfully fulfilled the structural needs of surreal transitions but also illuminating the stage with an effervescent optimism hitting up against the tragedy of innocence. Marissa Moses’ choreography as she, Maricella Ibarra, and Sena Ramirez moved about this version of Limbo created a living atmosphere, unobtrusive but permeating and watchful. I thrilled to see so many honest, true, and totally connected performers on stage, and the result was an uninterrupted journey through an unforgettable story.
Amanda McRaven’s direction brought this production to apotheosis, and it’s impossible to imagine a better incarnation of this text under any other hand. The space (designed to perfection by Jeanine Ringer) was filled dynamically and intimately by the actors, and Ms. McRaven demonstrated her supreme understanding of spatial relationships and physical sculpting through the fluid and sensual space the performers created. Performances were direct, powerful, epic, and deeply felt without allowing for histrionics or showmanship. Ms. McRaven told a transcendent story with precision and specificity and a rich humanity, with room for levity as well as passion. Her inclusion of Aaron Beaumont’s luscious sound score (both live and recorded) enhanced Karyn Lawrence’s lighting design and Rachel Stivers’ costumes, nudging the audience with nuance and subtlety, creating an infinite sweep of locations in the small Actor’s Company space and no need for anything but the simplest production value.
THE FIRE ROOM is a theatrical experience as it should be, captivating, reflective, moving, and intimate in a way that only live performance can be. This play sets a standard for Fringe fare, one that is difficult to match but well worth the effort. Congratulations and thank you to Fugitive Kind for bringing this beautiful experience to life with love, care, and total commitment.
