Actors are Left to Flounder “In the Dark”

Harvard-Radcliffe Dramatic Club’s production of “In the Dark,” an original play both written and directed by Matt S. Krane ’15 that ran from Feb. 21 to 23 in the Adams Pool Theater, left the audience mostly uninformed regarding the cryptic circumstances of its protagonists, siblings Eve (Taylor K. Phillips ’15) and Zade (Matthew J. Bialo ’15). The ambiguity of the play’s exposition created an atmosphere that was uneasy, overwhelming, and intimate; while the script, generic in parts, could have deflated under the weight of its own artistic ambition, the strong cast and the lighting prevented it from doing so.

The play begins with Eve and Zade as they run away from their father through the forest after an unknown horror is committed. A mysterious figure, M. (Teis D. Jorgensen ’14), awaits them. Caught between impossible choices, the pair must keep themselves safe and hope that they can find their way out alive.

The primary issue with the play lies in the characterization in the script: the relationship between Eve and Zade—the crux of the play—is unbalanced. Zade’s mature, nuanced persona clashes with Eve’s constant immaturity, and his continued loyalty to his sister seems illogically suicidal, though noble. Her refrain of “I’m afraid” while she antagonizes Zade about everything from the number of matches left to whether they will actually make it back to civilization becomes unbearable. Eve is belligerent and impulsive without any redeeming qualities, thwarting any opportunity for sympathy.

Because Eve clearly grates on Zade’s nerves, the siblings’ later romantic relationship is highly unlikely and without warning.  Eve’s limited characterization became even less believable when the siblings first kiss; it seems odd because one character is three-dimensional and the other is a cartoon. What might have been a central element in the play—this sibling tryst—is instead quickly forgotten because it seems so illogical and insignificant.

Despite this, Bialo was superb as Zade who is portrayed as a bomb with a lit fuse. Integrating a spectrum of intense emotion with a staunchly logical perspective, Bialo portrayed Zade as a strong, complex character—the hero in the show, if one exists.  Moreover, superior execution by Jorgensen at critical moments during the show created a skillful balance between a pitiable and a gruesomely fascinating M. In the moments when M. had more than a line, such as when he talks about removing his own eyes, Jorgensen totally embodies a waifish woodland apparition who contentedly chews away on his own heart. Jorgensen managed to bring a refreshing levity with his idiosyncratic, Cheshire-cat-like statements while capturing the darkness and tension of the production .

Jonathan J.S. Longcroft’s ’15 portrayal of S., the figure who Eve and Zade are running from, is equally stellar. Longcroft delivered a phenomenal performance, one that allowed the audience to feel the siblings’ terror of the sinister “Daddy.” With controlled delivery and complete power in body language and speech, Longcroft is a chilling, intimidating presence, looming physically and metaphorically over the other characters.

With a sparse set featuring a motif of veins and vines on the stage floor to ground the space during lit scenes, the lighting by Aaron S. Graham-Horowitz ’15 takes on a greater role.  The first scene was diffusely lit, as if from a setting sun, creating a tone of trepidation that foreshadowed a plunge into night. This all-encompassing darkness made the audience imagine the woods as evil and menacing, with rustling sound effects by Mariel N. Pettee ’14 that encouraged thoughts of dangers that slither and pounce. The usages of light slightly modulated the sepulchral tone throughout the production.  In one scene, when Zade lit a fire, a diffuse, orange-red light became visible onstage,  but it lacked enough radiance to make anything visible besides the siblings’ hands: the result was eerie and strangely comforting.

While the script lacked depth in parts, the directorial choices helped elevate the performance. Throughout the production, a recording of the actors’ voices echo or in tandem with the real-time spoken word of the characters and was ominous as well as potentially risky. Rather than detracting from the production, it lent greater urgency to the show’s pacing.

“In the Dark” is ambitious and complex, and the talented cast and crew delivered a provocative, thrilling performance to mitigate the questionable parts of the script.