In Search of the Truth

September 11, 2001 was one of the most horrific days in American history.  But what if there was a deeper, darker truth to what happened on that sad day?  What are the ramifications of knowing the real truth?  This is the thrust of Yankee Tavern by Steve Dietz and currently playing at the Circle Theatre.

I don’t usually go into a play blind.  By that I mean I know the general story before I sit down to watch it.  But the only knowledge I had of Yankee Tavern was that it centered around 9/11 and conspiracy theories.  This play is far more than that.  This play is an exciting mystery thriller with comedic undertones that will keep you on the edge of your seat as it twists and turns with compelling characters and electric dialogue until the final moment.

Ryle Smith’s direction is a superior piece of work as he expertly navigates the ebbs and flows of this story, builds beautiful tension, and sets a firecracker pace.  Smith has also directed fantastic performances from his cast of four with each having a sizzling chemistry with the others, making for a sensational ensemble experience.

Smith also does double duty by playing the role of Adam Graves, an adjunct instructor and political writer who also owns the titular Yankee Tavern.  Smith’s Adam is an incredibly multifaceted character.  He’s a bit of a prankster as he messes with his wife, Janet (played by Rose Glock), by making up fake guests to invite to their upcoming anniversary party.  Smith also bestows a wonderful intelligence and logic on Adam which is best demonstrated in his verbal spars with his late father’s best friend, Ray (played by David Sindelar) as they debate about what really happened on 9/11.

But Adam also carries his share of darkness and secrets as he is unable to accept his father’s suicide and has a connection with a former female boss which may be far more than employer/employee.  Smith handles these heavier moments with equal sureness, especially in a climactic argument with Janet in Act II.

David Sindelar gives an award worthy performance in the role of Ray.  A self-professed “itinerant homesteader”, Ray, at first, seems like he’s going to be the kooky comedy relief as he lives in the abandoned Yankee Hotel, talks with ghosts, and sees conspiracies everywhere.  But once Ray and Adam start arguing over 9/11, that’s when you see this character’s true intellect.

Ray’s arguments are amazingly persuasive because they are grounded in logic and verifiable facts.  You may not necessarily believe them, but it does give you something to think about.  The arguments are helped by Sindelar’s sincere delivery.  Sindelar also gets to show some pathos and depth when he talks about why his wife left him and the events of his best friend’s last day of life which demonstrate why Ray’s world is preferable to real life.

It is an arduous role because Ray likes to talk, dissect, analyze, and expound.  The sheer bulk of the dialogue caused Sindelar to trip on his lines on a couple of occasions, but he didn’t let it slow him down or get him off track.

Rose Glock is, at turns, sweet, harried, and haunted as Janet.  Janet is on the same intellectual plane as Adam and Ray and is able to hold her own in their conspiracy theory debates.  But she also has a peculiar form of survivor’s guilt because she didn’t lose anybody in 9/11 which leads to a relationship with an unseen character that causes Janet to have an intense loathing of secrets.  Ms Glock handles the emotional beats of the character well and really gets to shine in Act II with intense showdowns with Adam and the mysterious Palmer.

Kevin Barratt’s interpretation of Palmer is underplayed mastery.  He rarely speaks in Act I, but has a hypnotic presence.  He sits quietly at the bar with two Rolling Rocks, toasts an unseen companion, and seems to be grappling with a heavy burden.  Barratt has tremendously animated eyes that let you watch his shifting emotions without him uttering a single word.  When he finally does speak, he is so soft spoken and earnest that it’s hard to determine if he’s a crackpot or if he truly does know things that he probably shouldn’t know.

Barratt really ramps things up in act II during a prolonged verbal battle with Janet over Adam and his possible connection to a potential key figure in 9/11.  What I found utterly fascinating about Barratt’s take on Palmer is that he is looking for absolution, not revenge.  He has knowledge that he would rather not have, but must seek the truth out to the end for the sake of his soul.

There are few things I love more than a good mystery and this play gave that to me and then some.  This show is about so much more than whether there was more to 9/11 than met the eye.  It is a show about the secrets we keep from each other and that is something that will strike the heart of anybody who watches this play.

Yankee Tavern has one final performance on October 30 at 8pm.  The Circle Theatre is producing this show at First United Methodist Church at 7020 Cass Street in Omaha, NE.  For reservations, contact the Circle at 402-553-4715 or via e-mail at dlmarr@cox.net.  Tickets cost $15 for adults, $13 for seniors, and $10 for students, active military, and T.A.G. members.

“Yankee Tavern” to Open Circle Theatre’s Season

The Circle Theatre Presents:

Yankee Tavern by Steve Dietz

​Ever wonder what REALLY happened on 9/11?  Well, just when you thought you’d heard every crazy conspiracy theory imaginable, a mysterious stranger walks into the Yankee Tavern in New York City and nothing is ever the same…for anybody.  Yankee Tavern is a fiercely funny play that will keep you guessing long after you’ve left the theatre.

Dates:  October 16, 17, 23, 24, 30, 31

Showtime:  8pm

Tickets:  $15 for adults.  $13 for seniors.  $10 for students, active military, and T.A.G. members.  Contact dlmarr@cox.net or 402-553-4715 for reservations.

Location:  First United Methodist Church (7020 Cass St in Omaha, NE)

“Dracula” Lacks Bite

The evil vampire, Count Dracula, stalks the streets of London. He, himself, is hunted by a group of adventurers pledging to end his reign of terror. This is the story of Dracula written by Steven Dietz and based off of Bram Stoker’s classic novel and is currently playing at the UNO Theatre.

I have always considered this version of the legendary tale one of the better ones as it is based much more closely on the novel. Dietz manages to capture the most important elements of Stoker’s novel though he does eliminate two crucial characters and compresses events down to size for the sake of the play.

D. Scott Glasser’s direction is fairly solid. He makes good use of the cobblestoned three tiered stage (wonderfully designed by Robbie Jones) and had his actors well placed for the multiple simultaneous scenes that take place during the course of the show. But I did disagree with his staging. The actors presented the story in a very theatrical manner which seemed over the top at certain points which resulted in snickers and chuckles from the audience. A more realistic approach would assist in making this show a true spellbinding chiller.

Michael Judah does fine work in the title role. He has a nice intimidating physical presence and lent an air of mystery to the character as he quickly appeared and disappeared on stage. I was especially impressed with his rejuvenated Dracula as he was truly a beast. He took what he wanted, succumbed to his appetites without regret, and oozed danger. His weaker, aged version of Dracula (a stellar make-up job from Charleen Willoughby) was a bit too energetic and animated. I also thought Judah needed to be more authoritative as weaker Dracula as he is a nobleman and warrior with centuries of experience and cunning on his side.

Andrew Prescott is excellent as Professor Abraham Van Helsing, Dracula’s chief nemesis. Prescott’s marvelously powerful speaking voice was well suited to his bold, decisive characterization. He was truly a man of action and convinced me that this was somebody I would want leading me into a dangerous situation. Prescott does need to be careful not to upstage himself as he turned his back on all of the audience members in the round on a couple of occasions.

Enrique Madera made some odd choices in his interpretation of Renfield. When he opened the play, he spoke with a Received Pronunciation accent and had utterly flawless diction. When he transitioned into the Renfield of the story he fell into a Cockney accent and his diction vanished. At certain points he also seemed to imbue the character with some effeminate qualities which I didn’t think worked very well. Madera also didn’t seem to quite get Renfield’s true nature, though he was on the right track. Renfield is a man of massive extremes. When he is sane, he is completely calm and controlled. When he goes through a psychotic fit, it is savagely violent and he is capable of making those changes on the turn of a dime. Madera was making those changes but they need to be sharper and more pronounced. I also thought his choice to consistently giggle was a little too clichéd.

Garrett Garniss’ portrayal of Dr. Seward was a superior work of storytelling. His rich voice captured all of the subtle nuances needed for the character. I could feel his pain when he lost Lucy, his confusion and irritation with Van Helsing who would not reveal the whole truth of the situation, his anger and disgust at what needs to be done with Lucy, and his courage and determination when he decides to accept the burden placed upon him. It was truly fine workmanship.

The only flaw in Mike Burns’ Jonathan Harker was its theatricality. Toned down a few notches, it is a gripping performance. Burns did good work in portraying Harker as the hungry new solicitor determined to do good by Dracula as his leasing agent. Most impressive was his turn as a nearly catatonic patient after the horrors he experiences at Castle Dracula.

I thought Sarah Nickolaisen made for a very sweet Lucy Westenra. She could be playful as when she was teasing Mina, empathetic when she rejected Seward’s marriage proposal, and I was chilled when she transformed into the eerie and bestial Bloofer Lady. She does need to be certain to overenunciate when she has the fangs so she can be understood.

Likewise, I thought Jordyn Petersen was loyal and steadfast as Mina Murray, but she also needs to watch her diction as her dialogue was mushy at points during the play.

Charleen Willoughby’s costumes were perfect for the gothic tale. Aaron David Wrigley’s sound was an ideal match to the mood of the story. Adam VanOsdel’s special effects could not be improved upon. Audrey Wardian’s lighting was well suited, but was a bit too dim and shadowy. For a large portion of the play, I had difficulty seeing the actors and could not read their reactions and expressions.

The play did have some group issues as well. The theatre is a black box so the actors need to really belt out their lines to be heard. Accents were a mixed bag and sometimes were dropped and changed. The pace of the show also needed to be greatly picked up and scenes of violence need to be tighter and cleaner. Still, I see untapped potential in this show. As this was the first of two preview performances, there is still time for adjustments to be made to allow the show to reach the heights I believe it can reach.

Dracula plays at the UNO Theatre in the Weber Fine Arts Building through October 10. Performances are Wed-Sat at 7:30pm. Tickets cost $16, but UNO students get one free ticket. Reservations can be made at 402-554-PLAY or their website at www.unomaha.edu/unotheatre. Dracula is a horror story and is recommended for mature audiences.