Review: Theater Schmeater's CREATURE is Hellish, in a Great Way

As a woman in the middle ages, there seemed to be only two options: be a mother, or a strumpet. This dilemma is not unfamiliar to many modern women stressed by societal demands. In Heidi Schreck's "Creature," it is 1401, and Margery Kempe has found a third option: sainthood.

"Creature" is an offbeat historical play about a 15th century mystic who discovers her calling when, after a difficult childbirth, she sees visions of the Devil and Jesus.

In a town where even the smallest suggestion of heresy got you burned alive, Margery (Allison Yolo) must be possessed to want to push the boundaries. Hilariously, we are introduced to a Margery that seems to be literally possessed by demons. It is rare for a play to be able to be both very funny and, at times, very terrifying. Director Emily Harvey does a great job balancing these disparate tones.

And what fun it was to see how living with a saint could be so hellish. Though Margery's husband John (played by Adam St. John) was no picnic himself, his duties and desires as a husband could never be fulfilled with Margery's newfound holiness. She wants everyone to know how committed she is to becoming the most pious saint that ever lived, advertising her martyrdom with a megaphone as she flaunts her fasting, chastity, and weeping. Allison Yolo's consistency upholding a manic energy for the duration of the play was impressive. The theatrical and self-absorbed Margery was not a particularly likable protagonist, but Yolo is so funny and believable that you want to go along for the ride.

What's refreshing and surprising is how what feels like an entirely allegorical play somehow stumbles into realism come Act Two. Act One does not have much of a plot, per se, but rather is driven by Margery's disorganized and lost (but fervent!) crusade for sainthood. The secondary characters such as humble priest Father Thomas (Matthew Middleton) and leather-clad demon Asmodeus (Noah Luce) felt archetypal and undeveloped. Even John, Margery's husband, seemed to only represent sinful, earthly temptations such as sex, beer, and food. But "Creature" slips tiny suggestions of depth here and there until suddenly, the story is not all about Margery (much to her chagrin).

As Father Thomas, Matthew Middleton was very sympathetic. For a holy man, he never once brought a holier-than-thou feeling to his character, creating a lovely contrast between Father Thomas' charitable nature, and Margery's selfishness. As Margery's nurse, Abby Nathan was severe and ominous. Patrick Hulburt's Jacob--Margery's devotee--felt surprisingly lecherous for an innocent young follower. Noah Luce's Asmodeus was somehow, ironically, the most endearing character. He brought a tenderness, and he was consistent. Adam St. John's portrayal of Margery's husband John was that significant other with a chronic case of childishness beneath a gruff exterior we all love to roll our eyes at.

I can easily forgive costume choices for smaller productions, but Asmodeus' bright red snap-back that he wore backwards was too out of place to be ignored. Costume designer Briana Schwartz did such a great job capturing a renaissance aesthetic, but combined with the leather jacket and pompadour fade, Asmodeus' modern aesthetic did not work for me.

That said, the use of 21st century music to punctuate a moment in a comedic way was done successfully. Closing scenes with Madonna's "Like a Prayer" or Alanis Morissette's "Hand In My Pocket" made you feel as delusional as the characters on stage. The production team also did a brilliant job evoking an abysmal, nightmarish undertone through lighting and ambient audio. As every character obsessed over how to know God the best, they each created for themselves their own personal hell.

With a perfect balance of feeling incriminating and being hysterically funny, I give Theater Schmeater's "Creature" 4.5/5 stars.

"Creature" performs at Theater Schmeater through August 13th, 2016. For tickets and information, visit them online at www.schmeater.org.

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