Review: IMPROBABLE FICTION at Masquers Playhouse

IMPROBABLE FICTION at Masquers Playhouse is a tale of two parts. Don’t let the easy-going first half lull you into complacency. When the action hits, it comes in quick succession with quippy lines, funny costumes, over the top dramatics, and plenty of belly laughs.

The scene is set throughout the first act with a quaint meeting of a writers circle. Arnold, the meeting’s host, is a technical writer for manuals and instruction booklets. He has taken great pains to arrange his home for the meeting, provide refreshments, and has even solicited the help of his friend Ilsa to sit with his invalid mother upstairs during the meeting so that he won’t be interrupted. As the writers assemble, they take their respective seats and eye each other with varying degrees of warmth and contempt. The writers are varied in both personality and genre. With a detective series, a historical romance, a sci-fi novel, a children’s book, and musical all in the works, they have much to share. As the meeting draws to a close, not much progress has been made on their work, but they vow to bring fresh work to the next meeting. With the flickering of lights, everything changes, and the real fun begins.

C. Conrad Cady is a charming Arnold, caught in the melee but oh so sincere. Tyler Scott Null and Simon Patton lean into the stereotypes of Clem and Brevis and deliver solid performances. But it is the women of this cast that lead the way. Atessa McAleenan-Morrell as Ilsa is a fresh-faced ingénue that perfectly places every hand gesture and pause. Alicia von Kugelgen as Grace gives a master class in dialects, stutters, and every nuance of speech. Lori Mrochinski as Jess reminds us that acting is reacting and her character never fails to respond to what’s happening around her. And Anna Kosiarek as Vivvi becomes as close as humanly possible to a live version of pop art with her wide eyes and full expression. Together the women drive the show and command the space. Their ability to completely embody each character with specificity is what makes the show work.

Director Angela Mason does credible work to get the show to the second half. The set up is just too long, but that’s the script. The costumes by Ava Byrd add so much fun to the show as do the wigs by stylist Chalie ten Holt. The set design by John Hull, Angela Mason, and Michael Clark is one full of details. The set has all the notes of a fully lived in house. The props and special effects by JohnMaio, Joyce Thrift, and Jerri Doss surpassed expectations.