Airness, a Truly Fun Production with Messaging and Heart
Loud Fridge, in its season launch, introduced an interesting exercise in practice by also launching “Loud Bridge,” a program created and produced by Amira Temple, featuring professional actors and college artists on the same stage and under the same production for a greater experience at the boards.
Airness by Chelsea Marcantel revolves around air guitar competitions, from local to national to international. I always mention on here that theatre is both memory and learning. I did not know that air guitar competitions were a thing. Like, a real thing.
Nina (Shelby Garza) decides to randomly enter an air guitar competition on the fly. When she meets aspiring champions and competition pros Facebender (William Huffaker), Shreddy Eddy (Lester Isaruiz), and Golden Thunder (Isaí Luna), she, like me, learns that there is definitely more than meets the eye with these competitions, like your persona/competitor name. The only woman air-guitar-er in the group is Cannibal Queen (Sofia Scafidi), who is a little scary and angry at the world. Nina starts building community with the pros while keeping her distance from CQ. Star, semi-champion D Vicious (Jacob Lopez) is too involved with himself and his repetitive competition song, along with a lemon-lime soda YouTube commercial, which has gone to his head. The rest of the troupe continues from city to city, performing away while guided by amazing MC’s (Griffin Hanson). True intentions are revealed, along with a bit of foreshadowing, in an exciting, adrenaline-filled way.
Kian Kline-Chilton’s direction had a vibrant cast that truly joined in the energy and fed on it, lifting each other up. I went during industry night, and the packed house was roaring, which made it even more fun and engaging. Kline-Chilton’s trace is balanced on three sections, while the story’s stage is set in the middle. It was like watching a tennis match as the audience bobbed their heads in unison from one side to the other to avoid missing any detail of the packed tale. Audrey Casteris’s realistic set of a dive bar had me practically smelling the place, with everything looking as it should, along with a sort of green room and the performance stage, which used the whole space, giving the scenes an elongated vibe. Production after production, Sammy Webster is proving to be a lighting design master, with all the colors in that set popping with each movement, creating amazing shadows and relief. Kaylin Saur’s movement direction definitely showed with all the flashy movements, flips, and even bridges while performing the imaginary instrument.
The combination of the chosen colors had an 80s vibe that meshed well with the happenings, along with Patricia Lutz’s costumes featuring glitter, faux fur, leather, and pleathers in various combinations and patterns. I also loved the selection of baseball caps. You will have to see the play to understand, dear reader.
For me, the lighting and the wardrobe were the starring design elements of this production. That, and I want Patricia to come shopping with me and be my stylist.
Marc Akiyama’s sound is also great, with cool selections and effects. I do feel that the volume could have used a little bit of power. But overall it was good.
William Huffaker owned the role of Facebender from the attitude, to the intention, and the accent. Lester Isaruiz delivered a zestful, charming Shreddy Eddy, with great onstage chemistry with Shelby Garza, whose Nina was lively and determined. Isaí Luna’s performance had strong comedy and wardrobe reveals, with powerful messaging. Sofia Scafidi’s Cannibal Queen was intense with nice doses of comedy and girl’s-girl energy that rounded out the character. Jacob Lopez’s smooth and pretentious D Vicious had sass and cool audience interaction. Griffin Hanson, playing various roles, “cross country,” nailed the rhythm and feel, and also had rapport with the audience.
Chelsea Marcantel layers different issues into the story, such as patriarchy and betrayal. Finding your community, yourself, and your airness.
The only sad part about this production is that it has a few performances left. You’d better catch one of them. Tickets are free of charge, so there is no excuse. Reservations are encouraged.
The Stage Manager for this production is Madison Mercado, with Assistant Stage Manager Kamila Nunez.
