Home > Blogs > Arts and Entertainment > Archives > 2009 > January > 31 > Entry
‘Brother Wolf’ crackles with energy at Loft
“Brother Wolf,” a unique and organic collaboration between The Human Race Theatre Company and Rhythm in Shoes, delivered fierce physical acting and spellbinding moments on opening night, Friday, Jan. 30.
The worthy and simple adaptation of “Beowulf” by Preston Lane and Laurelyn Dossett transplants the ancient tale to the mid-19th century Appalachians, populating it with preachers, demons and those in between who share traits of both.
It’s a play with music, not a musical. Dossett’s songs remain in the background of the storytelling, which is enacted with experimental fervor, but no amplification by the 13-member cast under four directors: Marsha Hanna, Sharon Leahy, Rick Good and Scott Stoney.
Dance, in the form of physical presence and focused movement, rather than formal choreography, is also woven in. It, too, plays a supporting role.
In this telling, Beowulf is Brother Wolf, a free-lance preacher from Tennessee who arrives in his black suit, toting his rabbit skin-covered Bible just after the holier-than-thou Speerdane family has lost son Adger to the sharp teeth of the mountain monster Grin Dell.
Feeding on their lust for revenge — it’s even suggested that he materializes because of it — the supremely confident Brother W. tricks, captures and slays the beast, marries the Speerdane daughter and begins a career as a traveling clergyman.
The trouble is, Grin Dell has a Maw who’s badder than her boy ever was and now has her own powerful reason to prove it. We hear her cry of pain, promising vengeance for vengeance, just as Act 1 of the two-hour production ends.
Although not with a heavy hand, “Brother Wolf” weaves in a hint of religion and a moral about forgiveness.
It’s far more likely that anyone seeing this noteworthy production of it will come away with admiration for Bruce Cromer, Morgan Grahame and Joshua Fossitt, who give excellent performances as Grin Dell, Maw and Brother Wolf.
Cromer and Grahame are vibrant and vital in movement and voice. Fossitt, known previously as a Rhythm in Shoes dancer, proves his acting ability with quiet intensity.
Particularly in a rousing soliloquy, Cromer also excels as Rattler Man, a snake-toting traveler who tests foolish people’s courage, usually fatally.
Kelly Mengelkoch, as Mabel Speerdane, then Brother Wolf’s wife, is a standout as a woman willing to give her all for what she believes in.
Sharon Leahy plays Hessie, who narrates the tale along with Vega as son Enoch. Musicians Good, Ben Cooper and Carl Jones were natural extensions of the woodsy set with mountain backdrop by Tess Little and Scott Scott Kimmins.
Lowell Mathwich designed the costumes, which help set time and place, but are also made to serve vigorous movement. John Rensel’s lighting brings scenes to life like one in which the river runs red with blood.
“Brother Wolf” might be more impressive musically if done in more standard fashion. Despite unfocused moments early on and a couple of less than dynamic scenes, this version is packed with drama.
The Human Race Theater and Rhythm in Shoes production of “Brother Wolf” will continue through Feb. 15 at The Loft, 126 N. Main St. Tickets are $15.50-$36 at (937) 228-3630 or www.ticketcenterstage.com.
Permalink | Comments (1) | Post your comment | Categories: Review, Theater
Comments
By biSporbilla
December 19, 2009 7:58 AM | Link to this
What’s up all, I’m new to the forum and fair-minded wanted to roughly hey. hi devotion manoeuvre to comprehend fresh pepole and slice tackle with them father a happy year