SHOP ‘TIL YOU DROP

F. J. Hartland

Big box stores that offer everything from lettuce to tires to diamond rings have come under a great deal of criticism lately.  We’re all heard how they drive out smaller “mom-and-pop” stores, how they monopolize towns. 

But what about the crushing effect they have on the people who work there?

Valu-Mart, the current offering at Pittsburgh Playwrights Theatre, explores that particular angle—and is a thought-provoking drama.

Written by Sean O’Leary, Valu-Mart is set in the employee break room of just such a store. 

Five employees are being held captive until one of them admits who stole the key to the jewelry display counter.

O’Leary’s cast of characters cuts across genders, races and generations.

Earl Plummer (Tommy LaFitte) is a former schoolteacher.  Lanie Welch (Kelly Marie McKenna) is a rich girl who is left with no self-esteem by a domineering mother.  Khalid Burroughs (Rico Parker) is a young man with a criminal past.  Genna Styles plays Brandi Sobers, a single mom trying to get ahead in the corporation.  Susan McGregor Laine is Dorothy Shay, a bored senior citizen, looking for something to fill her lonely hours.  Finally, Bill Dalzell plays security guard Chad Crowley.

Under the direction of Mark Clayton Southers, the cast does a tremendous job capturing the pathos of these human beings, who are not only trapped in the break room—but are trapped in their dead end jobs.  In a field of very strong performances, Parker (as Khalid) manages to stand-out—portraying a wide range of emotions.

Adding humor to the script are cheerful announcements over the company loudspeaker.  They make ironic comment on what is happening in the stark break room.

Southers’ set also captures the claustrophobic atmosphere of a company lunch room.  It is almost naturalism with its working microwave oven and soda machine.  Completing the look are harsh overhead fluorescent tube lights.  The stark realism ends at the door, however.  Each time it opens, the audience can see the back of unfinished flats; the ambiance is broken.

The configuration of the audience also adds problems.  Each row is set off by half walls—which is too tall.  From my vantage point on the side section, there were moments actors totally disappeared from view. (At one point, LaFitte was talking to another character—and I wasn’t sure to whom he was speaking because I couldn’t see the other performer.)

Valu-Mart has an excellent concept, a powerful theme and six interesting characters.  The play would be strengthen by editing it down to a ninety-minute, sans intermission show with stronger jokes.

Valu-Mart continues through March 28.