A Play by Backyard Renaissance’s Artistic Director Francis Gercke
Backyard Renaissance has a unique and defined style, yet there will always be surprises when seeing their productions.
Francis Gercke, the company’s artistic director, wrote their theatre year opener, The Dark Heart of Dooley Stevens. In the pre-curtain speech, he kindly explained that it was okay if people did not understand what was happening. This made sense, as Backyard has this timing to bring audiences out of whatever is happening in the world. For example, when theatres were reopening after/during the pandemic, their production of Whitchland made a fantastic welcome.
With Dooley, set in a trailer in the American Southwest during the 1990s, Cindy (Jessica John) and Dooley (MJ Sieber) will share more than a family experience. It could be an abduction, an arrest, or even a legendary creature. The suspense holds the magic realism’s hand; like Gercke said, it is okay. Because being drawn into the moment of the happenings is what matters.
All the design elements for this show were synched. Mathys Herbert created a realistic set with relief that invited appreciation both outside and inside—recessed ceiling lights included—in parallel with Curtis Mueller’s lighting design, which was fun and active, displaying different colors that played with Jeffrey Neitzel’s special effects, boosting the story and its thrilling moments. Sound design is always key, and Logan Kirkendall had it be the skeleton key as the sound also played with the special effects and the lighting, having audiences react. I might have cursed loudly in Spanish at one point… There’s also background music by Steven Leffue rounding out the whole vibe.
Hannah Meade, a recent Craig Noel Award recipient, directed this piece, and it is always a treat to experience a director’s different perspectives through their lens. This play contrasts Meade’s last work in Constellations, showing her ability and skillset as there are plenty of elements to consider in The Dark Heart of Dooley Stevens, from the actors to the placement/blocking meshed in the effects, light, and sound. Also, considering the audience’s reaction, Meade aligns these elements accordingly with a continuous motion that is lifting and, through clear communication with Hector Zavala, the technical director, for it all to come together.
Jessica John and MJ Sieber have shared the stage before, making it different each time. As their promotional materials say, “Third time’s a charm.” Here, they brought suspense, comedy, and heart to each moment with a precise and intended trace with added movement courtesy of Christopher Williams’s fight choreography. There is also cooking and eating within the scenes. The real cooking continues to activate the already stimulated senses with a wif of what is happening on the pan.
Jessica John Gercke brought the 90s grunge and florals to the costume design for this production, matching it with burgundy Converse and biker boots. Burgundy was a thing in the 90s if you know.
As it is a treat to see how directors work on different pieces, it is also a treat to see performers in their various artistic threats. Gercke is letting us into his playwriting and Sieber into his acting after directing MISERY. It’s like an evened-out scoreboard.
The Dark Heart of Dooley Stevens is currently playing until March 15. For more information, please click HERE.
Anna Younce is the stage manager for this show, and Rueben Renteria is the assistant stage manager.
And remember, theatre is not expensive when gifting yourself. There is always a way to find good seats at a price that fits every wallet.
