Minor Demons is a Major Dilemma

Theater: The Old Academy Players
Show Title: Minor Demons
Opened: February 29, 2008
Seen: February 29, 2008
Reviewer: Gary Labowitz
Submitted: March 1, 2008

The Old Academy Players presents “Minor Demons” by Bruce Graham, directed by Paul Muscarella. Feb. 29 – Mar. 16, 2008
3544 Indian Queen Lane, Philadelphia, PA

Old Academy Players (OAP) certainly tackle difficult shows. Minor Demons can be added to their incredible list of shows that you wouldn’t think could be produced in a small theater setting. Minor Demons is almost a classic Greek tragedy, missing only a chorus and a skene.

The play, written by local Bruce Graham, is intriguing. It begins with the tragic hero, the lawyer Deke Winters (played by Michael Boorse), fitfully sleeping/waking. He is beset by accusative voices and episodic memories of a murder case he defended in his hometown. The program tells us “Most of the play is a nightmare replaying itself in Deke’s mind.” (Where is the chorus when we need it?) The voices produce a cacophony of confusing statements. We don’t understand what all this means.

The exposition proceeds as vignettes from Deke’s memory of his return to town, and various interactions he had with old friends, a new employer, his actions defending a brutal murder case, and his subsequent downfall from the competing demands of mutually exclusive obligations. Deke is already a failed man, returning after leaving a prestigious job and a failed marriage. He is a recovering alcoholic and drug addict who is attempting to be an honest, retiring member of small town society. After piecing together his story, we are returned to Deke’s sleeping/waking. At this point we understand the meaning of the voices. We are left to ruminate on the unfairness of Deke’s dilemma, and wonder how each of us would have chosen. Would we honor the demands of the community, here represented by the lawyer’s obligation to provide the best possible defense, or the demands of the household, here represented by Deke’s lifelong friendship with Vince DelGatto (the Chief of Police, played by Bob Toczek). This is pure Greek tragedy.

OAP presents the play much as Greek theater would have: the story is told in small groups who talk among themselves to give us the history. Each group is lighted to focus our attention. This technique has an unfortunate result of limiting the stage area in use. In such limited areas there is not much room for physical action. We get a bit of pacing, some movement through the characters changing places, and lots of arm waving. Small props (a laundry basket, a beer bottle, a glass, a briefcase) are used to give some “reality” to the settings, but these are, after all, dream memories. They aren’t really needed but are unobtrusive.

Scattered throughout the dialogs, playwright Graham has many wry and humorous exchanges between players. While there is the occasional outright laughter, these are more mentally appreciated gibes. The show’s pace is good, leaping from setting to setting without disrupting pauses, much like the pace of dreams. Director Paul Muscarella is to be congratulated for managing to present and pace these glimpses into Deke’s memory in a smooth way.

The cast presents the tragedy cleanly, without any side- or subplots. There is a hint of a liaison between Deke and one of his coworker lawyers (Diane Sikorski, played by Kathy Leslie), but this is never brought into focus. This is a one track story. A brutal murder; a life destroying choice; that’s it. It is powerful stuff, unadorned and unvarnished.

I would suggest (who am I to demand?) that high school and college classes in Drama, Greek Literature, and Contemporary History go see this play for its content (thought provoking and relevant) and its production (Greek theater). If your schools won’t do this, take your own kids and grandkids to see it. Consider it preparation for life.