Review: Uncharted Waters: Douglas Williams’ SHIP at Live Theatre Workshop

Part of the growing canon from New Play Exchange, Douglas Williams' SHIP shocks and entertains, offering an outlandish yet resonant exploration of self-discovery.

Spoiler alert: This isn't family-friendly entertainment, so it's best to leave the kids at home. The Sunday matinee I attended had the gritty vibe of an off-off-Broadway show, designed for a niche, late-night crowd.

Hats off to the bold creators at Live Theatre Workshop. It's no easy feat to open a season with saucy fare, rife with F-bombs, while simultaneously upholding a wholesome children's program next door. This isn't sarcasm—I mean it when I say: serve the salty goods right out of the gate.

Of course, off-color references are only gratuitous when taken out of context. In SHIP, Williams blends incisive commentary with dark, outrageous comedy, painting a vivid portrait of a unique, idiosyncratic trio. The play balances moments of reflection with incidental, often crude, humor, thereby crafting a jaded yet emotionally complex rhythm.

Set in the coastal town of Mystic, Connecticut, SHIP follows Nell (Alexandra Kaplan), a young woman freshly out of rehab, as she attempts to rebuild her life. Nell works at a maritime museum where the ship is a central exhibit. Her job involves giving tours or guiding visitors, a symbolic nod to her attempt at rebuilding her life.

Reentries after rehab can trigger shame, and as Nell tries to reconnect with her estranged family and confront her past, she defaults to her coping mechanism, blending off-color giddiness with the profound weight of addiction and personal regrets.

Central to Nell's journey are her relationships with Caitlin (Allison Akmajian), her protective sister, and Jeremiah (Rayce Morland), a quirky former classmate. Caitlin, pragmatic and emotionally burdened by Nell's past, struggles to balance love and resentment. Meanwhile, Jeremiah's mystifying persona serves as a counterpoint—if not a mirror—to Nell's quest for change. Caitlin and Jeremiah's interactions with Nell shape the play's emotional core, adding intricacy to her path toward self-rediscovery.

The youthful cast submits a calculated performance, each actor hinting at greater risks beneath the surface. Though some scenes are still finding their footing, they suggest a profundity that bodes well for substantial developments to emerge. Kudos to director Samantha Cormier's mindful staging of actors in the round; her cast delivers critical insights through purposeful movement in varying units of action. A conscious, oft-repeated physical track can enhance emotional potency.

The direction is clear and precise, skillfully steering the play's delicate balance of bawdiness and heartbreak. LTW's production team carefully shapes the atmosphere through Cormier's scenic design, Madeline Cota's "ship" construction, Tina Evans' soundscape, and Richard Gremel's muted lighting. As the performances evolve, this production promises to resonate more deeply as it progresses.

LTW's consummate collaboration makes the arena space a welcome sight. The opening weekend performance enthralled, drawing us deep into the play's emotional landscape. Alexandra Kaplan's spirited depiction of Nell captured the uncertainty and sharp wit of a young woman navigating life after rehab. Kaplan embraces Nell's unfiltered temperament, employing the familiar veneer of bravado to mask her underlying dread. That said, there's room for this talented actress to explore other meaningful ways of concealing Nell's vulnerability. Subtler strategies could expose moments of tenderness beneath her rough exterior, allowing Nell's brokenness to emerge more clearly.

By contrast, Allison Akmajian's Caitlin is fraught with ambivalence from old frustrations, her protective instinct, and abiding love — a crucial dynamic providing much of the play's emotional engine. Scenes of sisterly confrontation ring true, rendering Caitlin's complex feelings both relatable and heartbreaking. Jeremiah's unusual character provides the requisite levity to life's absurdities. His eccentricity, exemplified by his earlier attempt to achieve the Guinness World Record for the longest fingernails, yields an unpredictable innocence, a foil to Nell's worldly and bombastic approach. The discovery introduces an unexpected dynamic, merging humor with pathos.

SHIP carries multiple layers of metaphorical significance. It can be a vessel that moves through uncharted waters--much like Nell, who is navigating her life post-rehabilitation. A ship can symbolize isolation and emotional distance, as seen in the fraught dynamics between Nell and her family.

Finally, a ship is a medium for change, transporting us from one place to another. In the context of Williams' play, it reflects Nell's attempt to leave behind her past and move forward into a new chapter of her life. How fitting it is for the audience to encircle this journey, like the unpredictable sea that holds the vessel's fate in its hands.

SHIP continues through August 31 at Live Theatre Workshop Mainstage, 3322 E. Fort Lowell Drive, Tucson, AZ 85716.

For tickets, call  520-327-4242 or visit: 

Photo Credit: Dan Quinones