Death and cell phones

By Christine Jeon     9/21/11 7:00pm

Say you never had a cell phone before, and somehow, you enter into a stranger's life after finding his. You are now Jean, a woman sitting at a cafe who just noticed that a cell phone is ringing — and its owner is dead. Zealously, desperately, Jean assumes the role as the dead man's messenger and answers all of his calls. Jean further complicates her role in his life (or rather, his death) by providing closure to his loved ones through her lies. As Jean leads her vicarious life, she finds out more and more about the man and soon begins to question the truth about him, and herself.

Sarah Ruhl's Dead Man's Cell Phone, produced by the Rice Players, essentially explores truth — the truth about relationships, values, motivations and what it means to leave something behind once you're gone. Directed by Joseph "Chepe" Lockett (Hanszen '91), the play is comprised of a motley cast of debuts and veterans alike.

Duncan College sophomore Jacquelyn Pass assumes the lead role very well, as she provides many dimensions for her compassionate yet pitiful character, Jean. Although sometimes a bit forced in the more somber moments, Pass is a natural in her comical displays and elicits sympathy and empathy for her character throughout the show.     

---

---

Duncan freshman Jake LaViola takes on the complex task of portraying the dead man, Gordon, but he's not too shabby. The dead man is, in essence, the trigger and main element that sums up the play's message, and LaViola conducts this to perfection. His monologue in act two is particularly well executed. With conviction, maturity and charisma, his debut performance is fantastic.

The leads are backed up well by their supporting actors. Dwight is portrayed by Wiess College junior Henry Gorman, who gives a solid delivery as Gordon's awkward brother. Alice Rhoades, a Fondren librarian by day and theater veteran by night, plays Mrs. Gotliebb, Gordon's mother. Rhoades delivers a seasoned performance of what every mother is and should be: caring yet critical, wise and sometimes stubborn. Jones College sophomore Tristina Bryant executes her role as Gordon's wife Hermia with confidence and credibility in her comical scenes but not quite to the same extent in her melancholy ones. Last but not least is Hanszen College freshman Becca Kellner who, despite assuming two roles, was a perfect fit for both parts, confident and haughty as "The Other Woman"  (Gordon's mistress), fierce and assured as "The Stranger."

Although the small cast provides solid individual performances, as an ensemble the chemistry and intimacy were lacking. Gorman's chemistry with Pass leaves much to be desired, for their own belief in their love for one another is implausible at parts. A more genuine connection to each other as an ensemble was missing. Each actor's ability to emotionally bury himself or herself in the moment of the play, to truly bring the script to life, was inconsistent.

Artistically, the set design, music transitions and lighting fulfilled their purpose to tie the play together. Some unconventional choices were made with regards to the music, colors and blocking decisions, but it's what one might have to appreciate in an absurdist romantic comedy. One element of the play that sticks out is how Lockett and his team decided to use the stage. There is never really a time the whole stage is used, which creates a sense of isolation and loneliness. The artistic elements of the play challenge the audience to think about the central themes of the show.

It's important not to  mistake this play as an anti-technology production. While the cell phone is the impulse that triggers the conflict in the story, the play at its heart is about the nature of human beings and how we have changed over the years. As Lockett said, "For all that [the play] is about apprehending and escaping absurdity, it's also about revealing in revealed reality; for all that it's about falsehood, it's also about finding truth."

 

---