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Existential Angst Just Ain't What It Used To Be.
By Dave Irwin
JEAN PAUL SARTRE'S No Exit has always been an important
work for
demonstrating key points of existential philosophy. However,
no one, unless dressed all in black including turtleneck and beret,
has ever claimed that watching this excruciating drama about three
strangers doomed to spend eternity psychologically torturing each
other is entertainment. Important, yes, but not entertaining.
Quintessential Productions' version of Sartre's classic is not
terribly successful in making an evening in Hell any more enjoyable
than it sounds. The production is more of interest for its historical
value than any particular insights that director Dylan Smith and
his cast bring.
First produced in Nazi-occupied Paris in 1944, the play involves
three characters damned to the same windowless room together,
where there's no sleep and the lights never go off. And to make
matters worse, the place is badly decorated. Sartre's inventive
version of Hades is self-serve: Instead of Beelzebub tormenting
you, three roommates take to the task, each in turn irritating
and aggravating the other two. For relief, they conspire with
one or the other; but when you're going to be stuck together for
all eternity, that strategy has some downside in the long run.
The bright spot of this production was Taren Carter Hines as
Inez, a dead clerk with distinct lesbian overtones. Hines finds
the right balance, alternating between calculated cruelty and
bored resignation. Her delivery was natural and believable, with
her subtle seductive overtures and her surrender to indeed deserving
this particular form of punishment. Brian Kearney was less convincing
as Garcin, an executed cowardly journalist, claiming to be a pacifist.
On opening night, his gestures were self-conscious and overly
mannered, leaving a clear sense that we were seeing the actor
and not the character. Laura Ann Herman was more at ease but still
slightly self-conscious in the character of Estelle, a vain woman
who married for money and died of pneumonia. Jon Campbell rounded
out the cast, in the brief supportive role of the valet who brings
each to the room and explains the rules.
Smith's directing generally moved the characters around nicely,
especially given their static setting. The lighting left dark
edges on the set which the characters sometimes moved in and out
of, seemingly without relevance to the dialogue. An occasional
dimming of the lights to add emphasis to the text was more distracting
than enhancing. Smith presents a straightforward version of the
play that, while not bad, does nothing to lift the grim material
into something more transcendental.
It's admirable that Quintessential Productions is staking out
a territory of doing important works less often brought to the
boards. Unfortunately in our post-Pop and post-modernist world,
No Exit seems dated and almost quaint, as passé
as actually referring to oneself as an intellectual. The lessons
of existentialism--such as the role of personal responsibility,
the bleak position of mankind in the universe, and the fact that
being stuck with boorish people is the worst punishment ever conceived--are
no longer revelations. What was avant garde a half-century ago
has since been assimilated by the mainstream. Except to be able
to say, "Been there, done that," after this 90-minute
visit, most folks have better things to do than go to Hell this
time around.
Quintessential Productions, 118 S. Fifth Ave., continues
its production of Jean Paul Sartre's No Exit at
8 p.m. Friday and Saturday, and 4 and 8 p.m. Sunday, through September
27. Tickets are $10, with a $2 discount for students, senior citizens
and military with ID. For reservations and information, call 798-0708.
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