This weekend’s batch of shows at the Brick Comic Book Theater Festival were much more mature and complex than the shows I had previously reviewed. I had to put on my special intellectual glasses for this.
Enjoy the hard work of my glasses. They have never worked so hard before.
Our Greatest Year
Written by Robert Attenweiler
Directed by Anna Brenner
This intimate character study takes place in 2007, a year in which Cleveland’s three major sports teams came closer than they ever had to major victories. They all ended up losing, but it was the first time Cleveland sports fans experienced some hope. I do not know sports, so I would have to imagine it feels like hearing about a Street Fighter movie reboot or waiting for Batwoman #1 to finally go to print.
Harvey (Eric Slater), a Cleveland-bred aspiring sports blogger brings his new wife Elton (Rebecca Benhayon) to live in the basement of his childhood home. Over the course of the year we watch their relationship shift uncomfortably as Harvey’s status quo disappointment is threatened. Our Greatest Year is an intricately crafted slice-of-life drama with no cathartic releases or satisfying conclusions. Playwright Robert Attenweiler (himself a Cleveland native) weaves internal tragedy into casual conversation. “What’s so fun about losing, Harvey?” Elton asks. “Why do you enjoy it so much?” Harvey does not have an answer, nor does Attenweiler give us one.
As the married couple Slater and Benhayon have a fine, lived-in chemistry. Their scenes together have a sense of real intimacy almost to a fault (Benhayon’s soft voice was sometimes barely audible). Their performances are emotionally rich and psychologically complex, and it is heartbreaking to watch as their characters’ relationship quietly implodes.
The live action of the play is accompanied by illustrated interludes penned by Scott Henkle. The artwork has a dry, self-deprecating wit reminiscent of American Splendor (It’s no accident that our lead is named “Harvey”).
Despite its bittersweet core, Our Greatest Year is deeply satisfying and is the most poignant production I have seen at the Festival thus far.
All in all, Our Greatest Year is a bittersweet drama that is at least more successful than Cleveland’s ill-fated teams.
Death Boogie
Written by Darian Dauchan
Directed by Jennifer McGrath
Music by The Mighty Third Rail
I assumed, based on the title, that Death Boogie was about a dance marathon that ends in tragedy. I was misled.
Death Boogie, the brainchild of actor-poet Darian Dauchan, is a visceral hip-hop poetry musical that wears its heart on its sleeve. The incredibly talented Dauchan plays every character in this tale of a repressed African-American man’s revolutionary awakening. Mild-mannered Victor Spartan, a drone in his waking life, is plagued by dreams of violent imagery that gradually push him into action. Victor’s journey is told through poetry, song, and the animated pop artwork of David Allyon. The flesh-and-blood performance of Dauchan and two-dimensional art blend seamlessly together to create Death Boogie’s unique aesthetic.
The music, written and performed The Mighty Third Rail is a mix of strings and beat box rhythms. Much like famous stoned comedian Reggie Watts, Dauchan employs a loop pedal to mix songs on the spot. His voice becomes its own orchestra section.
Death Boogie is a passionate piece of theatre that quickens the pulse and stirs the imagination. It received the first standing ovation I have experienced at the Festival.
Spaceship Alexandria
Written by Dan and Jon Cottle
Directed by Hunter Canning
Music by Jon Cottle and Leon Pease
I’ll touch briefly on Spaceship Alexandria, which is still technically in development. This show follows the daily lives of a crew of
scientists hovering at the edge of the galaxy one hundred years from now. Upon the eponymous vessel the shipmates explore, invent and create while awaiting further instructions. “What is the mission?” is a question that is frequently asked. The mission is the mission itself: the journey is the destination.
The show has a lot of potential but still has a long journey ahead itself. The plot needs to be streamlined and some characters need to be further fleshed out. The show needs time to marinate for a bit before it can find its legs (if I may mix my metaphors).
Alexandria does receive jolts of energy from its handful of rocking songs. According to the program notes, Alexandria has plans to become a full-length musical, which could positively effect the narrative. When Alexandria gives itself over to song it really comes to life.
Alexandria also has a potential anchor in LUCI, a sweet-natured, intellectually curious AI who is taking baby steps towards human understanding. The themes of exploration and discovery are personified by LUCI. She is the soul of Spaceship Alexandria, and I cannot wait to see how her character evolves.
I have a lot of hope for this show. With some polishing it could become a compelling, interesting piece. I wish those intrepid artists luck on their mission.
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And that’s all for this week’s batch. If you’ve been to the Festival and have seen some of the shows, tell us what you thought in the comments section!
