POWERFUL PERFORMANCES ELECTRIFY THE MERCY SEAT

POWERFUL PERFORMANCES ELECTRIFY THE MERCY SEAT

F. J. Hartland

Currently at Off The Wall Theatre in Washington PA, Neil LaBute’s two-character drama The Mercy Seat examines the far-reaching effects of the tragedy of 9/11.  But LaBute does not focus his story on the victims or the heroes or even the villains of this shattering event. 

Instead he tells the story of two people who want to use it to their advantage.

It is 9/12.  Ben (Michael Moats), a married business executive, is holed up in the New York loft of his boss Abby (Adrienne Wehr) with whom he has been having an affair for the last three years.  His family doesn’t know that he has survived the terrorist attack.  In fact, his cell phone keeps ringing as his wife makes desperate attempts to locate him.

Ben does not answer.  Why?  Because he sees this as his chance to leave his family and his job to begin a new life with Abby.

Director Robyne Parrish has done an outstanding job creating the highs and lows of The Mercy Seat.  Sometimes it’s brutal, sometimes it’s funny and it’s always disturbing. Parrish has paced the play beautifully and had wrung two powerful performances from her cast.  I do question a few of her choices…like would Abby, who polishes silverware in the middle of a national tragedy happening just outside her window, really stand on her coffee table?  Or allow Ben’s shoes to sit in the middle of her living room floor?

Moats has been on the Pittsburgh acting scene since 1996.  While his roles have been many, he has never been better.  His portrayal of the confused, dominated, wishy-washy Ben is the finest of his career thus far.

Wehr gives a multi-layered performance.  At times she is a shrew of an inquisitor…but Wehr also allows us to have a peak at the damaged, vulnerable woman beneath her caustic surface.

In two years as scenic designer for Off The Wall, Paul A. Shaw has done brilliant work—but he has out done himself with a stunning recreation of a New York City apartment.  Shaw utilizes black-and-white with just a hint of color to create a space that is both realistic while also reflecting the themes of The Mercy Seat.  The detail is amazing from the tiles counter tops to the original art work on the wall.

Likewise, Debi Meny’s costumes compliment both the set and the play’s darker themes.

The only fault of the show lies with Neil LaBute’s script.  While he has given us a unique perspective on a national event, he has also created two characters that are hard to find likeable.  I would fake my death, too, just to escape Ben and Abby.

Judging from the enthusiastic response of the sold-out opening night crowd, one would be wise to make a reservation ahead of time to see these two electric performances.

The Mercy Seat continues through March 20 at Off The Wall Theatre in Washington PA. 

This entry was posted on 6. March 2010 at 17:29 and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response or trackback from your own site.

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