A Touching Story About Loss and Organ Donation
I am definitely liking what La Jolla Playhouse is bringing to the table this season. It feels risky, experimental, and, curiously, with heart.
Their latest production, The Heart, brings a story set in San Diego about a 19-year-old surfer’s last 24 hours. Based on “Réparer les Vivants” (Mend the Living) by Maylis de Kerangal, a work that also inspired a film in 2016, the Playhouse musical added even more, with an electronic dance soundtrack with music and lyrics by Anne Eisendrath and Ian Eisendrath, who is also the music supervisor, with book and additional lyrics by Kait Kerrigan.
The one-act, no-intermission play, directed by Christopher Ashley, felt like two acts because the first part of the show does not seem to be threaded or cohesive. It is not until the second half or the middle that the story, accompanied by the music, that it starts to feel whole. Zachary Noah Piser as Simon is very sweet along with his girlfriend and DJ, Juliette (Max McKenna). Theatre hits differently depending on the stage in life someone is going through or if you are experiencing a specific hardship, but with The Heart, this story will resonate with everyone, regardless of age. If you are in your early 20s or late teens, you will feel this closeness with the character of Simon. If you are older and have teen kids, you may experience the fear of loss and value the closeness with loved ones. The production brought an array of feelings, raw ones, to the table. It also brought community because practically everyone in the house was hurting from what was happening. There is also this blunt awareness that becomes an “aha moment” regarding organ donation, along with the contrast of a young adult with a middle-aged one.
One of the reliefs of the touching story was Mandy Moore’s choreography. Regarding the book and direction, I am unsure if there was a study on doctors and their behavior, as Paul Alexander Nolan was absolutely spot on as Dr. Breva, particularly with the cynicism, the back-and-forth, and the semi-good jokes. As someone who knows doctors and has been in hospitals, this resonated strongly and positively, as a sense of redemption came with it.
Wren Rivera as Marthe was super charming, Kenita Miller as Marianne, and Jason Tam as Sean, Simon’s parents were endearing and moving. Bre Jackson as the humane nurse Cordelia was excellent and received a pause for applause during the song “Strike a Match” as it was a flawless and powerful performance. The sound is not only EDM; Lincoln Clauss, as Thomas Driscoll, brought operatic elements, making the frame even more unique. Reminded me a bit of Enigma’s sound. Heidi Blickenstaff, as Claire, shows her Broadway credentials along with humor and poise.
Just like the production of Redwood, which seemed futuristic (and where curiously the same actor also dies in an accident), Amanda Zieve’s lightning, and Lucy Mackinnon’s video design contribute to this vibe that also feels clean, along with Robert Brill’s minimal set design with moving pieces and surrounded by whites.
Sarafina Bush’s costumes were detailed and vivid. Wendy Bobbitt Cavett excels in the music direction, as does Gareth Owen with the sound design, which brings the whole piece together, and as mentioned, is a very unique and different piece.
This show brings the heart to a race and then practically stops. There should be a vivid disclaimer everywhere because some people may be more affected than others by the subject matter. The catharsis does not have an opportunity to come back down and settle. The music could be rearranged with a rhythm that guides it.
The Heart is currently playing and has now been extended to October 5th.
Hair design is by Alberto “Albee” Alvarado; casting is by The TRC Company, Tara Rubin CSA, and Hannah Reinert.
Jess Slocum is the Stage Manager with Assistant Stage Managers: Alexa Burn, Karla Garcia, and Amanda Salmons.
