Rice Players suffer from two left feet in Baltimore Waltz

By Christine Jeon     3/29/12 7:00pm

The feeling of regret and remorse is one of the most vulnerable sentiments of human nature. Playwright Paula Vogel's Baltimore Waltz is the essence of this experience. Directed by TJ Burleson and Susannah Eig, the Rice Players present their intepretation of Baltimore Waltz.

Back in 1986, Paula Vogel's brother had invited her to go on a trip to Europe. Because of time and monetary concerns, Vogel declined, never realizing that her brother was suffering from AIDS.

In hopes of atoning for her feelings of guilt and for the later passing of her brother, Vogel wrote Baltimore Waltz.

---

---

The play follows the journey of two siblings, Anna and Carl, romping through Europe after finding out that Anna has the fatal "Acquired Toilet Disease" (ATD).

The satirical illness, along with other clues and symbols, soon reveals that Anna is not actually sick. The "waltz" alludes to the protagonist's way of waltzing around the reality that her brother is the one who is actually ill and the whole trip occurred in her imagination.

The somber yet beautifully written play provides the audience with a surrealist experience of grief, longing, intimacy and hope.

The more upbeat, bubbly and adolescent scenes effectively portray the common life teaching of living to the fullest, but the more somber moments depicting reality leave the audience feeling sorry for the playwright, secretly wishing that she could have experienced a different outcome that would have freed her from remorse.

Hanszen College senior Morgan Black plays Anna, the elementary school teacher with ATD who decides to sleep with a different man at each stop in Europe. Black successfully showcases her character's vulnerability, promiscuity and desperate search for intimacy throughout the show.

Black's performance is effectively paralleled by the portrayal of her character's brother, Carl, by Martel College freshman Trent Smith. Smith brings sincerity, youth and the right amount of adolescence to his character. However, the sibling chemistry definitely is lacking in some scenes that are pivotal in making sense of the abstract play.

Following his debut last semester, Duncan College freshman Jake LaViola gives another refreshing performance as the "Third Man," portraying about a dozen different roles.

Arguably the most entertaining role of the play, LaViola hilariously jumps from character to character as a doctor, a French waiter, a 50-year-old Dutchman and more.

The set of the eerie white hospital where all of the scenes take place and the artistic choices behind the lighting design effectively add to the abstract and surrealist nature of the play.

However, there are a number of awkward costume changes and sound cues that detract from the smooth flow of the play and theater experience.

Furthermore, the shortage of energy and chemistry between the actors leaves the play feeling a bit static and flat. This is more apparent in the monologue-heavy scenes.

In a play as satiric and non-linear as Vogel's Baltimore Waltz, there is an added layer of pressure and responsibility for the cast to really deliver the truth behind an abstract script.

There is an expectation from the audience to see strong and purposeful choices in blocking, dialogue and transitions.

However, there seems to be a lack of focus in the underlying message being portrayed. It is also disappointing to see the untapped potential of vulnerability that the actors leave on stage by the end of the show.

Regardless of whether or not the abstract, surrealist or absurdist genre is your cup of tea, at the end of the day, the play highlights what is left of the human emotion after feeling regret or remorse: hope.

---