Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

Virtuoso Performances Give Albion Theatre’s Twisty ‘The Wasp’ Bite

By Lynn Venhaus

Albion Theatre’s masterful interpretation of Morgan Lloyd Malcolm’s “The Wasp,” a contemporary twisty and twisted psychological thriller, leaves the gasping audience deeply unsettled and finally able to breathe after a dramatic 90-minute rollercoaster.

Because of its many layers of secrets, lies and manipulation, Robert Ashton has directed this dark two-hander by carefully building suspense and never allowing the actors to get ahead of the material. The element of surprise is always present as Heather (Ricki Franklin) and Carla (Macia Noorman) awkwardly engage in three tense-filled scenes.

Shades of high-stakes Hitchcock abound, as conversations include tea and revelations between the two former classmates, 20 years after they’ve seen each other. At first, one assumes this uneasy encounter is because there has been no contact during these ‘grown-up’ years, and the obvious class distinctions.

But it goes so much deeper than an affluent Heather approaching blue-collar Carla, pregnant with her fifth child, with a shocking request. Malcolm’s intense and intimate 2015 play becomes an exploration of female friendships and childhood trauma.

Malcolm cleverly weaves female-centric issues with occasional humor, easily establishing characters’ personalities and motivations – but maybe our perceptions aren’t as clear-cut. Hmmm… the plot thickens.

As disturbing facts are disclosed, and a proposition gets more complicated, the chemistry between the two characters is crucial. Franklin and Noorman, both making their Albion debuts, haven’t worked together before, but that isn’t apparent in their assured portrayals and compelling interactions.

They both are riveting, expertly showing vulnerability and strength, hurt and fear, rage and worry, cruelty and mercy. At times, you can see their old schoolgirl selves re-appear in their adult shadows. With a hint of where this is going, an overwhelming feeling of dread escalates — and some surprises are still ahead.

Macia Noorman as Carla and Ricki Franklin as Heather in “The Wasp.” Photo by John Lamb.

Franklin’s refined Heather seems to have the upper hand, and appearances indicate she has a thriving career and ‘married well,’ but divulges that she is miserable in the union, ticking off her husband’s alleged infidelities and despicable qualities. Franklin, two-time St. Louis Theater Circle Award winner as supporting actress in Shakespeare comedies, has an opportunity to show her dramatic chops here.

Noorman’s streetwise Carla, obviously wary but much more complex than a stereotype, has had a rougher life, struggling financially but seemingly happy as a mother, if not as a wife. Heather is childless. Noorman, a St. Louis Theater Circle Award nominee in 2019, shows an impressive range in this challenging role.

Although narrative twists have been exposed throughout the years (the play’s been around for 11 years, but this is the St. Louis premiere), I hesitate to mention too many details in case someone unfamiliar with this show would ever see it. Let’s just say your allegiance may shift as more comes to light, as we attempt to determine who you can trust or believe. Who are you feeling sorry for as grisly details emerge?

Were they once friends, enemies or frenemies? Can you ever forgive childhood slights and mean-girl behavior, and what about unreliable memories?

The play gives off the same cunning vibes as “Sleuth,” Anthony Shaffer’s brilliant 1970 cat-and-mouse mystery that featured class warfare and toxic masculinity, but Malcolm’s modern work is distinctively feminine.

Ashton astutely sets each exchange through scenic designer Rob Lippert’s well-appointed set in the intimate black box theatre. From a small coffee shop to Heather’s posh home, Lippert’s keen eye has created a vivid world, complete with a well-manicured backyard glimpsed through a glass door.

Lighting designer Kara Grimm-Denholm added to the classy atmosphere, and Tracy Newcomb’s costume designs effectively established the socio-economic status of each woman.

Ricki Franklin and Macia Noorman in a twisted cat-and-mouse game. Photo by John Lamb.

A sly reference to the titular stinger is included in Heather’s husband Simon’s framed collection of insect prints. The description is creepy, and when told, you may have an inkling of what’s ahead, but really, the script is so well-crafted and the actresses so intuitive, they keep us guessing. As both dig into a past that is far messier than first hinted at, it’s gripping and perturbing – get ready for stomach knots.

As is customary in Albion productions, the dialect is crisp and neither Franklin’s educated Brit nor Noorman’s cockney accents ever drop. Thanks to sound designer Leonard Marshell, Ashton’s tutelage and the actors’ efforts, understanding is not a problem.

Noteworthy contributions include Mo Moellering as fight choreographer, C. J. Langdon as assistant director, Rachel Klinck as board operator, Susan Wylie as stage manager and Denise Mandle as assistant stage manager, for the scene transitions are smooth and the anxious mood is never broken.

Perhaps some of the situations are contrived, but the performers are totally committed to making these characters believable and are convincing as they dredge up the distressing backstories of childhood bullying and harsh conditions.

The relationship, never solid, eventually fractures in unexpected ways. Do they go there? The performers dug deep, re-opening their characters’ wounds and showing their emotional depth in intricate, disquieting monologues.

Franklin and Noorman’s honest dynamic is key to immersing oneself in this chilling experience. Do childhood scars ever heal, and what does that say about the cyclical nature of violence? Oh, those blurred lines of life are the reason “The Wasp” has such staying power – and you’ll remember the sting.

Albion Theatre presented “The Wasp” from June 12 to 28 at the Kranzberg Black Box Theatre. This production was reviewed on June 28. The play has mature themes and adult language and runs 90 minutes without an intermission. For more information, visit www.albiontheatre.org

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

By Lynn Venhaus

Marked by twists, turns and a “Twilight Zone” flair, Albion Theatre Company’s latest whip-smart production “I Have Been Here Before” ponders the construct of time in a shrewd yet abstract way.

An adroit ensemble of six piques our curiosity, each one developing layers of their characters’ personalities and motivations. They seamlessly embody different classes, all at crossroads (whether they realize it or not).

The Black Bull Inn in Grindle Moor, part of the remote Yorkshire countryside, is where the story takes place in 1937. Set designer Rachel St. Pierre has fashioned a cozy, modest parlor, with Brad Slavik the astute set builder and Gwynneth Rausch specific in appropriate time-period props.

They have effectively set the period and place, so that co-directors Robert Ashton and C.J. Langdon were able to keep the characters on the move, so they weren’t as stodgy as they probably were nearly 90 years ago.

The six accomplished performers were notably well-rehearsed with distinct dialects and physically nimble in their mannerisms, driving the story with more verve than playwright J.B. Priestley’s dated drama indicated.

Photo by John Lamb

Today, the show hasn’t aged as well or is as suspenseful as an Alfred Hitchcock classic or even an Agatha Christie drawing room mystery. The set-up in the first act is intricate and lengthy, then has more engaging action in second act, while the third act teeters on implausible. Nevertheless, the sheer will and the skills of the actors make this watchable.

Priestley continued his fascination with theories of time here; one of the 39 he wrote. “Time and the Conways” and “Dangerous Corner” were among his most successful plays about time – he wrote seven.

He believed different dimensions could link past, present and future, and philosophizes, using Russian teacher P.D. Oupensky’s theory of eternal recurrence, which are life circles or spirals.

Robert Ashton and Anna Langdon are the reliable Sam Shipley and Sally Pratt, father and daughter innkeepers. He’s amiable, she’s pragmatic in their portraits. They are expecting three guests while a quiet but agreeable young headmaster, Oliver Farrant (Dustin Petrillo), is already spending a vacation there, for a rest. He relaxes by reading and going for long walks.

The upcoming holiday is known as Whitsuntide, around the time of the Christian holy day the Pentecost. In the south of England, it was the first official holiday of the summer (until replaced in 1971).

Photo by John Lamb

But the guests that reserved the rooms have cancelled. That allows a foreign guest, professor Dr. Gortler, (Garrett Bergfeld) and a wealthy businessman and his stylish wife, Walter and Janet Ormund (Jeff Kargus and Bryn McLaughlin), to book separate rooms.

Tall, gruff and exiled from Nazi Germany, the mysterious professor has already startled Sally by practically predicting future outcomes. He seemed to know who would be staying and not who originally booked rooms.

Are they thrown together by chance or is it on purpose?  That is one of the many questions raised as the plot thickens. It is rather odd that somehow, they seem inter-connected. Their decisions could have consequences that would affect others.

There is a nagging feeling that they may have lived through this experience before. But how could that be? The cosmic undertones seem to rattle some cages, especially suspicious Sally.

 An expert in math and science, Gortler is blunt at asking perceptive questions, revealing predictions, and shares a precognitive dream describing preposterous occurrences between everybody there. Dun dun dunnn!

Photo by John Lamb

Quite surprising is an assured, imposing performance by Garrett Bergfeld as the enigmatic professor. It’s been 20 years since he stepped on a stage, and one hopes it will continue.

Dustin Petrillo, who is always authentic in his portrayals, displays emotional depth and an unmistakable connection with Mrs. Ormund, who is unhappy with her workaholic – and alcoholic – husband.

Petrillo and Bryn McLaughlin worked together beautifully as husband and wife in “The Immigrant” at New Jewish Theatre two years ago, and they smoothly convey an ease with each other.

As restless Janet, McLaughlin contrasts her comfort with Farrant by showing unease with her inattentive husband.

Jeff Kargus is striking as the swaggering Ormund, used to getting what he wants and believably upper crust in speech and movement. He commands the stage, appearing as a manipulative mover and shaker, giving off shady vibes. One wanted to know more about these puzzling people.

Photo by John Lamb

As impressive as the actors are, so is the creative team that collaborated on a well-worn look, including the aforementioned scenic/prop designers. Costume designer Tracey Newcomb, whose work is always memorable, has economically created status in her ideal apparel choices. Lighting designer Eric Wennlund and sound designer Leonard Marshell set the mood well.

In 1970, rock group Crosby Stills Nash and Young released an album, “Déjà vu,” including a song of the same name.

If I had ever been here before
I would probably know just what to do
Don’t you?
If I had ever been here before on another time around the wheel
I would probably know just how to deal
With all of you

It later ends with the lyric, “We have all been here before” repeated several times. (“It’s déjà vu all over again,” in the words of an epic St. Louis philosopher-raconteur Yogi Berra.)

I was frequently reminded of those lyrics, as the play attempted to explain unnatural phenomenon. Had it followed through with a more convincing ending, it would have stuck the landing, but this is an observation in hindsight 90 years later.

Priestley worked with what was known at the time, and his own viewpoint on another life ahead as a do-over. Food for thought, to be sure.

In their customary fine fashion, Albion presented an unfamiliar play effectively, driven by excellent performances and strong contributions by local artisans.

 Albion Theatre presents “I Have Been Here Before” Thursday through Saturday at 7:30 p.m. and Sundays at 2 p.m., on Oct. 23-26, 30-31; Nov. 1-2 at the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. The show runs 2 hours, 30 minutes, with two 10-minute intermissions. For more information: albiontheatrestl.org.