Friendship, Mental Health, Literature, and Sex
Ok, San Diego, this theatre season is coming full throttle! I am four plays in, and my head already spun off my body.
It is truly faith-building to see a new theatre company come into its own during these times, remain true to its mission, and produce intimate, challenging works. Adam Rapp’s Red Light Winter starts off OnWord’s first season of full programming. This play had its debut almost 20 years ago in Chicago, with a plot that starts in a hotel room (near the airport) in Amsterdam, where friends Matt (Geoffrey Ulysses Geissinger) and Davis (Ibraheem Farmer), a playwright and editor, cavort in the city and revel in its pleasures.
Within the friend groups, there is always that friend…the one who always gets their way, the manipulative one, and so on. Davis is that friend. Matt is shy, into his work, and struggles with mental health. Davis comes back to their hotel room with Christina (Jamaelya Hines), a prostitute he met in the Red Light District. The three have a brief conversation, and Davis leaves as his goal is for Christina to stay with Matt. A heart-to-heart, amongst other activities, takes place, and after a year, all three will meet again while jaw-dropping truths, intentions, and feelings are revealed.
The production takes place at the Light Box in Liberty Station, with Michael Wogulis’ intimate, snug set design of a double single bedroom. Marti Gobel’s direction has the actors and audience c-l-o-s-e, embodying the saying “fly on the wall,” which is exactly the feeling. Yet the cast’s interpretative ability shields the setting. I appreciated that, as it is still immersive. Gobel’s outline is clear with solid intention and strong communication within the scenes. Jamaelya Hines is forceful and seductive as Christina, adding a palpable fragility. Geoffrey Ulysses Geissinger delivered an intense, troubled Matt, someone who needs and is deserving of love. Ibraheem Farmer, in his San Diego debut, is the character you love to hate. We’ve all had a Davis in our lives, and he nails that persona with layers of sass, charm, and plain jerk… Daniel Bunch’s costume design for Davis was right on the money with a sweater, fitted blue jeans, and a long coat. Very New York, very editorial. A red dress with heels to match for Christina is also spot on, and, of course, what room with men in it does not have underwear all over? Realistic.
Zane Shrem-Besnoy’s lighting was warm and added to the immersive experience, as well as giving the audience breaks at the right moments. Kemet Gobel’s sound was soothing for both Matt and us. The only note I have is the door opening and closing effect. Maybe a more organic approach would have meshed better with the rest of the production’s vibe.
Adam Rapp’s writing in this piece had an autobiographical feel, with a play within a play moment, and, after doing my research to confirm I was not hallucinating, it was great to not only confirm this but also learn how these two friends represent a dichotomy. Marti Gobel’s Director’s note in the program shares an insightful truth about productions chosen and offered based on perceived patron desires. To which an interesting question comes to mind: “What is the patron’s desire?” Does the patron even know?. I mentioned faith-building at the beginning of this review, and the patron is -not always, but often- the one who jabs at that faith. (call me horrendous).
Marti also mentions journalist Nataki Garret Myers response to Michael Paulson’s 12/15 NYTimes Article on Regional Theater, touching on comfort and liability. I agree with audiences being challenged and uncomfortable, and I believe the same for arts journalism. Both are in parallel with our work.
Red Light Winter will mostly make audiences uncomfortable and ramble in the brain afterwards. It is a good thing, as reflection and introspection are greatly needed today.
Referencing the note again, I was immersed, became a bit uncomfortable, and looked away…I promise I won’t do it again.
Will you look away?
