A Family Drama with Truth, Resentment, and Catharsis
Dear reader, if you are familiar here, you know that aside from noticing odd things in plays, like a certain type of lamp or prop within the stage design, as well as messages from the playwright, I also enjoy the program director’s note. NCR, Artistic Director David Ellenstein, who also directs this world premiere, mentions in the program that Louisa Gillis came from an unpublished, never-before-produced script. After a private reading that led to workshopping, San Diego gets to experience this piece for the first time. Now, it is not that we do not get world premieres often in this town, but there is something about a work that has been sitting unknown, and with a Proper Name as a title, that makes it more special.
Louisa Gillis passed away in unfortunate circumstances, leaving her 12-year-old daughter Celia (Faline England) in the custody of her sister. Celia’s dad, Steven (James Sutorius), an avid Shakespearean and professor, is remarried to Helga (Denise Young). Celia grows up and has her daughter, Lucy (Caroline Renee). Louisa made sure everybody was taken care of; she left further instructions in a letter that Celia followed throughout the years. As Steven is going into retirement, he and Helga have other plans that will disrupt the status quo.
There are various highlights in this production. Ian Scott’s music is beautiful and fitting, going hand in hand with Matt Fitzgerald’s sound, pacing the scenes in a vignette style and marking the continuity through Matthew Novotony’s lighting. Marty Burnett’s set included a living room with a small kitchen. Among the decor and Audrey Casteris’ props, there is a section dedicated to Louisa, featuring pictures and ornaments.
I became a declared fan of James Sutorius after seeing him in 2023’s The Cherry Orchard, including his work in that piece, one of the best of that year. His performance as Steven was gracious, and I believe he ad-libbed a bit in a couple of scenes with Faline England, who delivered a solid portrayal of a woman with deep-rooted trauma. Joanna McClelland Glass’s writing in this play is carefully woven, with the incidents surrounding Louisa and her family slowly unfolding while maintaining a sense of mystery. There is also a hint of commonality with the dysfunctional family. Caroline Renee, as the young caretaker Lucy, had both funny and serious moments that effectively illustrated the situation. Denise Young was paced and flowing throughout the performance with a 180-degree breakthrough towards the resolution. It was a nice surprise.
I always like Elisa Benzoni’s costumes, but I declare myself to be biased regarding the selection for Faline England. All her ensembles, which ranged from all-black pants and top to beautiful nightgowns, and the following outfits, I LOVED. Her accessories and hairdos may seem simple, but there is a method behind them: hair down, then partially up, and finally a ponytail. Caroline Renee also displayed a couple of fun, youthful pieces with playful patterns and materials. Denise Young wore casual, fitting, neutral attire. James Sutorius had most of his scenes sitting down, but still showed a variety of garments that meshed with the scenes.
David Ellenstein combined all the artistic elements with the performances, creating a balanced, emotional production.
Louisa Gillis is a one-act, no-intermission play that will evoke an array of emotions and their pertaining catharsis. Bring tissues.
Currently playing until February 8.
Christopher M. Williams is the Stage Manager, and Tyler Dean is the Production Assistant.
