Review: GREAT WHITE THRONE at Renaissance Theaterworks

Despite it’s setting in a lavish pink bathroom, the “Great White Throne” in the title of Cara Johnson’s new play is not the porcelain one visible throughout on the stage it’s the one envisioned on high by the two church women played brilliantly by Libby Amato and Marcella Kearns.

Amato as the pastor’s wife is waiting in her bathroom for a phone call that could potentially bring her carefully coiffed and manicured life tumbling down. Her house – and bathroom  - are invaded by the well-meaning deacon’s wife, played by Kearns.

Both actors are virtually vibrating with trapped energy – Amato’s is  frustration – SHE. WILL. NOT. LEAVE .

Kearns herself is also full of the energy of one too eager to be accepted, but  SHE. WON’T. LET. ME. IN. – emotionally.

Throughout the play’s 90 minutes (no intermission), the tension builds and these competing energies shift the power back and forth between the two women – and between them and the patriarchy in which they live.

But as they argue and commiserate, layers of need and resentment are revealed.

Director María Amenábar Farias makes the most of of two actors at the top of their craft.  Playwright Johnston went to Bible college herself – and it shows. She knows these women. By play's end, we do too.

Marcella Kearns (left) and Libby Amato (right).

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