Review: ODD at the Warehouse Theatre

Whether or not you're a Swiftie, it’s no wonder that that needs-no-introduction supernova of Eras Tour fame features in Odd, the shimmering, beautiful comedy by debut playwright Cammi Stilwell, which just had its world premiere at The Warehouse Theatre, now in its 50th season in Greenville’s West End; for Odd is a microcosm of 2023 in a way that could only be compared to the reigning Time Person of the Year. And not because the characters’ Wi-Fi password happens to be “taylorsversion”.

Part of the genius in how Stilwell reflects today’s zeitgeist is that she looks back to do so. You might know the timeless story. Two best friends—one a fastidious, work-minded type, the other messy and happy to skate through life—just became roommates, having found themselves both newly single. Let the games begin.

Moreover, sparks fly between the actors, but especially co-leads Clare Ruble and Kenzie Wynne, as they bring that script to life. The director’s note in the program describes the roles the two actresses have worked on together, and that could not be clearer in their performances. Together, Wynne and Ruble radiate a bubbling sense of genuine joy when together. Playing the fun-loving Phoebe, the appropriately impish-looking Ms. Wynne is hilarious, but also brings surprising heart to the role that makes Phoebe more than just “the funny one”. Ms. Ruble has a strong yet grounded presence as the more repressed Margot, and she charts the character’s arc with expert smoothness. Put the two together, and their stage chemistry is not to be believed.

Three supporting players also do well in framing the two ladies’ story. Primarily, Tony Award nominee Caitlin Kinnunen (The Prom, Spring Awakening) as neighbor Hannah. She is lovable and sympathetic from the first and could not be better at getting an audience to root for her, even in this so-called smaller role. Conversely, Abby Gilbert perfectly embodies the ice queen archetype as Liza, who’s simultaneously Margot’s work rival and her closeted ex. Gilbert, however, disarms you with her ability to make Liza a fully three-dimensional person rather than a cardboard antagonist.

Under director Caroline Jane Davis, the technical production is flawless as well, especially for a smaller venue. The naturalistic set by Jenni Baldwin is a particular highlight, with all the modern details an up-to-the-minute story like Odd needs. The lighting by Kevin Frazier, who also did sound design, is also well used to indicate the passage between day and night.

As obvious an homage to Neil Simon as it is, the pleasant surprise of Odd is how it stands on its own. It’s easy to throw around pop-psychology jargon and claim relevancy. However Odd, as they say, “hits different.” It speaks to this post-2020 moment where we as a society don’t want to settle, whether at home in dead-end relationships, or professionally as a cog in the corporate machine. Through Margot and Phoebe’s friendship, Odd shows us that we don’t have to simply tolerate it. Rather, it’s okay, important even, to tend to our inner child sometimes and never grow up too much that we cannot find fulfillment. Long story short, don’t settle for less than joy.

It’s hard to believe such a genius play would come from a young, first-time dramatist, and Odd shows Ms. Stilwell has the potential for a truly great storytelling career ahead of her…are you ready for it?

Odd runs through October 17 at The Warehouse Theatre. Photo by Wallace Krebs.

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