Vagabond Acting Troupe Presents The Philadelphia Premiere Of Noah Haidle's Rag And Bone

Theater: Vagabond Acting Troupe
Show Title: Rag and Bone
Opened: April 10, 2008
Seen: April 10, 2008
Reviewer: Karin Suni

Vagabond Acting Troupe’s production of Noah Haidle’s Rag and Bone is an evening of theatre not intended for the realist. If you happened to attend either of the other Philadelphia premieres of Haidle’s plays at other theaters earlier this season, then you are already familiar with his sense of “freedom of imagination” that insists that theatre is not an “attempt at mimesis of reality.” Instead we are presented with an existential look at what makes us who we are and of what use is a heart anyway.

Plunged into a world where archetypes walk the streets and a person can trade in their own heart for someone else’s, the play follows the lives of brothers and owners of The Ladder Store Jeff (Jeremy Hagan) and George (Ryan Capps), who also happens to be a black market heart dealer, Hooker (Jan Michener) and her pimp T-bone (Todd Ryan Jones), Poet (Ted Powell), Millionaire (Ethan Lipkin), Customer and Waiter (both played by Sarah Robinson) as they alter their paths in drastic ways by making impossible choices to try to find meaning and connection in their seemingly bleak world. The imagery and metaphor that used in the script can be a bit obtuse even for the most erudite of audience members. Because of this, I was puzzled by the choice to disassociate the play from one of Haidle’s inspirations that sheds some light on the reasoning behind some of his particular choices. The last stanza of the Yeats poem “The Circus Animal’s Desertion” will not suddenly make everything clear or provide an answer to the core issues brought up in the show, but it does provide an interesting insight that would give audience members another angle from which to look to find their own sense of the meaning of the play. While not necessary to the enjoyment of the show, I suggest taking a look at the poem or at least the last stanza before heading to the theater.

The small stage is well-used incorporating levels to delineate specific locations. The levels also mirror the plot and subplot coursing through the words and life of the performance. As the world wherein the play takes place is one that gets “less oxygen and sunlight than the rest of the world,” it is fitting that the lighting is at times dark to the point of being hazy. This takes a few scenes to get used to but enhances the atmosphere to the point where having anything brighter would be out of place.

It would be easy to assume that because only three of the characters have names that they are the primary people to watch. Doing so, though, would be to miss the best feature of the evening which is the true ensemble nature of the piece. In that respect, it is difficult to pinpoint specific acting choices that made the play. As a whole, none of the characters are people that you would seek out to spend an evening with. However, each of the cast members manage to make you find something in their characters that you like even if you cannot condone their actions. I attribute this to well-played moments of nobility that stand out in stark contrast to the often questionable and even reprehensible nature of many of the characters.

The ensemble also presents the comedic moments at their best and usually just when one is needed. The energy was high and the timing was nearly perfect during the first half of the performance which quickly dispelled any discomfort with the non-realistic caricature sensibility of the play. Unfortunately, the energy did not last past intermission into the second half. While this section is slightly darker in theme and action, it felt more that the ensemble had broken apart into individuals who had difficulty playing off each other. Whether this was something from the script, a purposeful directing choice, a function of opening night or a continuing situation, I cannot say, but it was felt all the more keenly as the first half had been so dead on. This issue would not be reason enough to keep me from seeing the show, but if the second half could match the first, I could easily say the show is an unmitigated success.

The play runs through April 26th.

*Click on the images for photo details*

George (Ryan Capps) and Jeff (Jeremy Hagan)

T-bone (Todd Ryan Johnson) and Hooker (Jan Michener)

T-bone (Todd Ryan Johnson)

Editor's Note - Here is a comment from the Artistic Director:

NAME: Aileen McCulloch, Artistic Director Vagabond Acting Troupe
URL: www.vagabondactingtroupe.org
Comment:

The poem that the reviewer alludes to is prominently displayed in the centerfold of the Vagabond Acting Troupe's program for RAG AND BONE…so you don't need to do ANY research before the play - just read the program before the show starts! If you are looking for some great advance purchase web discounts on tickets, please visit our website at www.vagabondactingtroupe.org. If you make an advance reservation for a performance by the deadline, you will receive the cheapest tickets for the show on that evening!

ALSO remember our repeat explorer program. If you came and saw the show opening night and want to see it another night during second week - just bring a paying friend, reserve in advance, and bring your program. You'll get in for free and can see if you get more out of the existential story on a second visit!

Jump - We'll Catch You! - Aileen McCulloch, Vagabond Acting Troupe