Veronica's Room
The Herndon Times Review
THEATER
ESP's 'Veronica's Room' leaves audience hoarse with horror
By Michael Birchenall
Weekender Theater Critic
It's classic Ira Levin ("Rosemary's Baby" and
"Deathtrap")--clever manipulation of the audience and in your face
consequences once he has reeled you in to his thriller/charade "Veronica's
Room." Levin's device is so compelling that it's best not to reveal too
much lest the fun be spoiled for the future theatre-goer. Let's just say that
the first act of this little horror indulgence is deceptively short (40 minutes)
and insidiously upbeat.
Director Bruce Follmer and the Elden Street Players deliver the Levin formula
with smart precision and carry the story structure to its faithful, murky end.
Characters are listed as Man (Al Fetske), Woman (Mary-Anne Sullivan), Girl
(Kate Ranta) and Young Man (Scott Reichert)--no need for names when roles
change.
The girl and young man are invited to the Boston home of the Mackeys after
having been spotted by the older couple in a local restaurant. It turns out the
girl resembles Veronica, the long-dead daughter of the family for whom they
work.
They agree to go along with a charade concocted to comfort Veronica's only
living relative, Cissie. But once dressed in Veronica's clothes, the Girl finds
herself locked in the role and in Veronica's room.
And is this 1935 or 1973? Sorry, can't help you there.
A tight play of four actors means that there is little room for a misstep by
director Follmer. The actors here work together well, although Scott Reichert in
his character is as ill-at-ease as he appears on stage. He has a more difficult
time of transitioning his role in the second act since he can't create a sharp
enough distinction in the first act for the needed twists and turns later.
The Woman, as portrayed by Mary-Anne Sullivan, separates the two acts within
her character. She is at ease as the doting, touchy woman who appears amazed at
the resemblance of the girl to the Veronica vision.
Follmer helps the plot along with the cast's overacting in the first act to
set up the thriller progression. Sullivan doesn't always keep the distinction
crisp enough, but ultimately has us wincing at her deeds.
Al Fetske is a veteran community actor who appears to delight in the
opportunity to show his skill in a role that requires keeping the character in
proper perspective across several levels. Fetske takes full advantage of every
opportunity and more.
Kate Ranta, as the Girl, makes the show pop with thriller distinction. From
the moment when she announces in a scene with the Young Man as she attempts to
get his attention, "Touch me, I'm promiscuous," Ranta flings herself
into the role full force--moving her character's supple social college
experience into powerful frantic fear. She is dynamic, fully vested in the
play's dynamics and believable.
Follmer wraps the direction around marching the story briskly, only at
certain moments missing the timing and intensity needed to keep the play from
moving beyond planned overacting to a fierce control needed to sharpen the
tension. Aided by a strong set design by Mike Loughname and precise light design
by Les Zidel, "Veronica's Room" works as fine contemporary theater.
Leave it to Zidel to create a curtain call that begs for mention as a
must-see--albeit a clever gimmick.
ŠArcom Publishing Inc. - Times Community Newspapers 2001
