Decimated by Global Warming

Treefall – Exit 63 Theatre

 

When the audience enters the intimate theatre space on W. Cortland, they may be surprised to discover three young boys sleeping on the floor of a dingy, dilapidated mountain cabin. The kids are huddled together, covered with rags and bits of tattered blankets. As the light subtly changes, August, one of the young boys, rises and begins to engage in what appears to be his typical morning ritual. He slips on a woman’s threadbare shift and a blonde wig and becomes the “Mommy.” August then sets about preparing breakfast for his little family. 

Very soon, August wakens Flynn, and he drowsily dons a necktie and a pair of worn-out trousers, his costume as the “Daddy” of this makeshift household. Flynn rousts a younger boy named Craig, who role-plays as the couple’s “son.” Craig’s only other friend in this lonely, dystopian world is a doll he’s named Dru. This isn’t a trio of boys playing house; it’s the new order in a brave new world that demands the survival of the fittest.

Henry Murray’s dark, serio-comic, 90-minute one-act is a new spin on the futuristic thriller. Set somewhere on a mountaintop  in the Pacific Northwest, Murray’s exciting, erotically-charged drama had its debut nine years ago in Los Angeles. However, his chilling story, filled with tension and sudden bursts of humor, couldn’t be more timely. We’re living in a world today that’s slowly being killed. Governed by a callous, greedy Washington administration, who ignores the scientific proof that climate change is real, our country is leading the planet to its inevitable ruin. Set in a not-so-distant future, Murray tells his cautionary tale of three teenagers trying to survive in a world decimated by global warming. Originally the boys hailed from different families, now all long-gone. But the kids have joined together for the sake of survival, forming their own family unit.

The world is a dangerous, frightening place. The human race has been decimated by some sort of virus. A hot, life-threatening sun forces the boys to stay hidden indoors during the daytime. Under the protection of nightfall, the healthy have turned into scavengers who prowl the deserted shopping malls for food and water, and the dismantled library for books to nurture their minds and imaginations. Sexual roles have emerged among the boys, although August is dissatisfied with playing the female and yearns for freedom and an acknowledgement of the needs demanded by his changing, adolescent body. 

Disrupting their everyday routine, a boyishly adorned teenager named Bug wanders into their world. She’s a lone traveler who’s accidentally stumbled upon the boys’ stash of food and water, but wants nothing more from them. August is enchanted by this new face. He persuades Bug to join the group back at their cabin, if only to offer her protective shelter and safety. But when the boys discover that Bug’s a girl, they each react in differently to her. August finds himself lusting for Bug, Flynn feels threatened and jealous, while Craig becomes curious, confused and upset by the intruder’s presence. It’s in the final, tension-filled moments of this story that Murray’s play ramps up to an unexpected dramatic climax that will leave audiences thunderstruck.

Directed by Connor Baty, he’s expertly extracted some very confident and courageous performances from his talented cast. Baty’s production stresses how, in Murray’s script, individuals come together for survival and define their lives according to their chosen gender assignment. Without adult role models, and only a vague memory of the way things used to be, Flynn, August and Craig’s relationship is not simply male or female. All of their needs are reduced to mere human contact and emotions. 

Baty has skillfully guided his quartet of actors to bring their own individuality to each role. As August, the matriarch of the group, Shea Petersen is simply terrific. He plays a character who obviously feels neglected and overextended in the family role he’s playing. While longing for some personal freedom, Mr. Petersen’s character is torn by the need to provide safety, stability and structure for his little family. Amid all this stress, August is also coping with his own puberty, and his changing body is crying out for the needs he’s never been taught to address. Peterson’s role is of a young man who must deal with all kinds of conflicts, both personal and universal.

Andrew Garcia is extraordinary as Flynn, the Daddy of the little makeshift family. Presumably the eldest, he tries to be the mature arbitrator, the wise voice of reason and calm. Mr. Garcia is a gentle and patient father figure with Craig; he also feels that his own physical, intellectual and emotional needs are currently being met through his close relationship with August. However, when Bug wanders into their world, innocently stirring up the boys’ fragile status quo, Flynn is intrigued and a little enticed. However, the girl, eloquently portrayed with a temperate toughness by Kirra Silver, also represents a new order. By introducing this new sexual dynamic, the demise of Flynn’s family unit seems pretty inevitable. 

In the middle of these changes, Mr. Garcia feels a strong duty to his “son.” As brought to life by gifted young actor Matt Schutz, Craig is a spunky, precocious preteen who doesn’t remember any other way of life than his relationship with August and Flynn. His fantasy world is played out with Dru, his little doll, with whom he enacts scenes from Shakespeare. Schutz uses his wonderfully dry delivery to punch up the humor in his frequent non sequiturs. The actor provides a nasal, southern drawl for the doll, and the two carry on many comic conversations together. When Flynn swipes an illustrated library book, and attempts to explain the male and female anatomy to Craig, as well as how babies are made, a whole new can of worms opens up for the boy.

The catastrophic events that have taken place in the country over the years have wreaked havoc on humanity. The earth’s terrain is greatly altered. Sunlight is lethal and can kill. Trees are dying and suddenly come crashing through the roof of the cabin. Food and water is so scarce that they must be rationed and procured in the darkness, before other wandering marauders can find them. This bleak environment is effectively created through the ingenuity of Bill Gordon and Jeff Simpson’s detailed scenic design, a shadowy lighting plot devised by David Goodman-Edberg and an often terrifying sound design created by Teddy Gales. Bailey Castle’s costumes are appropriately grimy and tattered, and Bill Gordon’s fight choreography feels natural and realistic.

The decision to stage Henry Murray’s excellent comic-drama was a good one. It’s particularly well-timed, considering the ecological state of our world and the lack of concern by this country’s greedy leaders. Connor Baty’s show is trim, taut and tense, allowing his fine cast to bring a richness and believability to each of their characters. The intimate production is well-supported by Baty’s fine technical staff and brings Murray’s story directly into the audience’s lap. The unflinching presentation also serves as a coming attraction, an enticement for Chicago audiences to watch this theatre company for more fine productions in the near future.

Highly Recommended

Reviewed by Colin Douglas 

 

Presented August 16-September 2 by Exit 63 Productions at the Trapdoor Theatre, 1655 W. Cortland, Chicago.

Tickets are available at the box office, by calling 773-384-0494 or by going to www.exit63theatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.