Sign me up for anything that has something to do with Tony Kushner’s Angels in America. When you think it cannot get better, playwright Hansol Jung combines the poetry of Sappho and the tragedy of Euripides, offering just a glimpse of her artistic ability, alongside her fascinating life, which is sprinkled with translations, theatre, television, and travel around the world.
Diversionary Theatre’s latest production, Merry Me, takes place in a naval base camp, and I quote, “of a Nation’s most prestigious navy on an Island not far from Another Nation’s most vulnerable coast cities.” There’s a blackout, and while General Aga Memnon (Troy Tinker-Elliot) aims to hold the fort and rekindle the marital fire with his wife Clytemnestra (Jacquelyn Ritz), his newlywed son Willy (Coleman Ray Clark) is also on the base with his wife Sapph (Mak Shealy). Meanwhile, Lt. Shane Horne (Winnie Beasley) supposedly went through “conversion therapy.” While having sessions with the navy base doctor, Dr. Jess O’Nope (Andréa Agosto), O’Nope is visited by The Angel (Michael Amira Temple), who, aside from great pleasure, assigns a challenging mission. Cat and mouse chases take over, with everyone involved in a sensual, sexy, naughty, and fun comedy all wrapped up in a 90-minute one-act.
Mathys Herbert’s literal unfolding set design, with pockets of glitter and surprise, is like Barbie’s dollhouse in camo, contoured by Annelise Salazar’s lighting that transitions from bright to disco, ensuring the audience doesn’t miss a single detail from left to right. Kristen Flores’s props rounded out the playful and silly freshness of the show, from a plastic cup to pen and paper. Sound designer and composer Padra Crisafulli had the beats pumping through, including pre- and post-curtain.
Vanessa Stalling’s direction had each actor flow with one another like melted butter in a fun and playful manner, while delivering engaging portrayals with firmness. Everyone in the cast brings their A-game. I think that The Angel is Amira Temple’s best performance yet, and she has had good ones in the past. The interactions with the audience, the playfulness, brought a heavenly A+. Andréa Agosto’s playfulness was charming and fun, with beautiful, flawless makeup. Winnie Beasley gave sensuality, coquetería, and fierceness, delivering great scenes with both Agosto and Mak Shealy, who demonstrated great agility throughout the stage with intensity and purpose. Coleman Ray Clark’s comedic relief was a blast and continued the piece’s never-ending momentum. It was great to see Troy Tinker-Elliot again on stage after his brief but mighty participation in Midnight at the Never Get. I loved the various watches. I also loved seeing Jacquelyn Ritz through this different performative light, perky, happy, and lively.
Claire Peterson’s costume design took those military uniforms and embellished them with charming details, such as patches and double belts. Having sensual red dresses and a fitting doctor’s uniform. The Angel’s costume, from the wings to the shimmer, both on the clothes and the footwear, was an absolute vision.
Hansol Jung blended poetry and mythology with sensual and logical comedy, creating a highly entertaining experience that both engaged the mind and left room for reflection. Speaking of fuel for the brain, props to Jesse Marchese for including those cool dramaturg notes in the program.
Shannon Humiston is the stage manager for this production.
Merry Me is currently playing until June 15. For more information, please click HERE.
