FPCT: Gather for "The Woolgatherer"

SHOW INFORMATION: Through May 4.  Fri – Sat at 8PM, Sun at 3PM.  No performance, Saturday, April 26.  www.fpct.org or call 410-276-7837 for information and reservations. 

◊◊◊◊ out of five.  1 hour, 30 minutes, including intermission.  Adult language, sexual situations, drug abuse, onstage smoking.

 

Part screwball comedy, part intense mental exercise, William Mastrosimone's The Woolgatherer is a rare play that offers actors and audiences a challenge, but remains entirely accessible.  It is both entertaining and thought-provoking (which can be entertaining in and of itself).  The play, which opened last weekend for a limited run at Fells Point Corner Theatre is a terrific example of all the right people getting together – the stars have aligned on South Ann Street to be sure!  Featuring a smart new director and a youthful, but infinitely talented pair of actors, this show is a don't-miss. 

The play, according to program notes, has become a staple in regional and college theatres, and it is easy to see why.  The plot involves candy counter sales girl Rose, a naïve, unusual young woman with some terrifying secrets, and a man she has brought home named Cliff.  Cliff is a fast-talking, sarcastic, caustic truck driver with more than a few issues of his own.  They are a combustible pair.  It has simple theatrical needs – one set, moody but simple lighting, limited costumes.  And it offers both actors parts that really allow them to flex their acting muscles.  There are at least two monologues – one for each gender – that are surely right up there in audition pieces.  It is wonderful to be able to say that on all counts, this production has winners in every slot. 

Tessa N. Silvestro's simple set suits the piece – its austerity speaks volumes before the house lights even dim, and Nicholas O. Staigerwald's costume design is deceptively well-crafted.  Clearly, he has gone through the script and attended rehearsals with a keen eye toward designing costumes that wordlessly add layers to the characters and offer insight into the play's title and key climax-reveal.  But it is relative newcomer Erin Billings who is the real behind the scenes star; as director, she has crafted ninety minutes of gripping theatre that sneaks up on you with comedy and a few sentimental moments as a tease leading up to several waves of raw, exposing human conflict.  Even though there are only two players and a single, spare set, Ms. Billings uses it all like a broad canvas and as a highly focused close-up photograph.  Her staging ebbs and flows with the piece and is as mesmerizing as it is taught with intensity. 

Ms. Billings has a top notch cast to work with, as well.  Wiry Vince Eustace, complete with long hair and seedy clothing, is visually superb for the part of Cliff.  But it is his delivery and palpable chemistry with his co-star that makes the evening whiz by with shocking speed.  Mr. Eustace has a clear grasp on the character, hurling out smart-ass comments and pithy plays on words like the manipulative master Cliff is.  But in his eyes you see much deeper characterization – you see pain, amusement and definite confusion, as he and the audience simultaneously realize that he feels much more for sweet, strange Rose than he has likely ever felt before.  During a lengthy monologue about life on the road, Mr. Eustace really flexes his acting muscles, nailing each simply stated but amazingly vivid detail.  He, and us by proxy, are reliving a lifestyle most would find a mystery, making the entire evening that much richer.

His co-star, the magnetic Sarah Zietlow is a marvel as Rose.  She endears you to her immediately with her slow, simple drawl, and her sweet, childlike naïveté.  Ms. Zietlow smartly navigates that fine line between cute, smarmy and annoying, never once becoming obnoxious, but still making it easy to understand why she annoys others.  She is an actress who uses her entire body as the instrument through which she tells her character's story.  Her physicality is at times stretched out in yearning, and at other times balled up tightly in near fetal position.  With those broad strokes also come minute details – she fidgets and scratches continuously, and her eyes are never at rest, constantly searching (for what, I'll leave that to you and the somewhat shocking climax).  Like Mr. Eustace, Ms. Zietlow's delivery of a lengthy monologue really shows her talents.  In it, she recounts with frantic detail a truly horrifying experience which changed her life forever.  The vivid details of the experience are delivered with such raw, real emotion; you'd think Ms. Zietlow herself lived through it.  God forbid she, or anyone else, really did. 

With only a few performances left, you should add this one to your must-see list.

 

PHOTOS: Courtesy of FPCT, photos by Ken Stanek.  TOP: Sarah Zietlow and Vince Eustace; Vince Eustace; Sarah Zietlow.