Theatrical Mastery in Lumen Rep’s 'Slow Burn' Questions Cultural Constructs

Lumen Repertory Theatre’s innovative double-feature production, Slow Burn, brings together Edward Albee’s absurdist works The American Dream and The Zoo Story. This unusual combination provides a vivid juxtaposition of two distinct narratives: one a satirical critique of American family life, the other a penetrating look at social alienation in a modern urban setting. The production’s clever interpretations and well-executed dramatic performance effectively invites a captivated audience into Albee’s complex psychological landscapes, evoking the overall meaninglessness and loneliness inherent in modern life throughout both one-act plays.

David Alford’s directorial approach to The American Dream captures the essence of a black-and-white television show, echoing the hollow perfectionism once portrayed in shows like The Donna Reed Show and Leave It to Beaver. This enchanting creative choice is the runaway star of the show, perfectly underscoring Albee’s critique of mid-century American ideals and significantly amplifying the thematic message of the play. Moreover, the strategic use of asides – where characters subtly address an implied television audience without completely breaking the fourth wall – ingeniously melds the worlds of live theater and vintage TV, enhancing the viewer’s engagement with both the story and its message.

The sound design by Brian Niece is notable in its use of canned laughter in both comedic and non-comedic moments as a critique of the manufactured cheerfulness pervasive in retro mainstream American family shows. The monochrome set by Claire Cimino, grayscale costumes by Camala Pitts and even grey lipstick worn by the actors not only reinforce the black-and white television aesthetic but also deepen the thematic elements of the play later on as the colorless set and costumes transition to bright, patriotic colors.

Katie Johnston’s Mommy and Sam Cobean’s Daddy are depicted with an unsettling authenticity that echoes the play’s critique of the American middle class. Johnston’s performance is particularly striking, her exaggerated cheeriness serving as a facade that often slips to reveal a spectrum of disenchantment and cunning manipulation. Cobean, on the other hand, portrays Daddy with a subtlety that speaks volumes, his passive demeanor and dialogue delivery highlighting the character’s symbolic castration and loss of purpose within the narrative. Together, they create a dynamic that is both intriguing and deeply disconcerting.

Kate McManus’s Grandma stands out with her vaudevillian physicality and cunning performance. Portrayed with a broad, hunched stance and expansive gestures, her movements suggest a deeper layer of critique woven into her comedic portrayal, as if she’s an undercover agent in her own absurd domestic setting. Grandma’s theatricality peaks when she unexpectedly removes her wig during a direct aside to the audience – a gesture that blurs the line between character and commentator. This act, abruptly interrupted, heightens the meta-theatricality of the play, adding to the overall surrealism and humor that McManus brings to the stage.

The roles of Mrs. Barker and The Young Man in The American Dream are portrayed by Jen Mercer and Jackson Gloumeau. Mercer’s Mrs. Barker is the epitome of forced cheer, her performance unsettling yet darkly humorous, providing a critique of the pointless roles women are often pressed into. Gloumeau’s performance as The Young Man is generally robust, although there are moments where he seems less assured, which somewhat muddles the impact of his character’s critical symbolism.

Switching to the set of The Zoo Story, the mood shifts dramatically. With a simple set featuring astroturf and sturdy park benches, the focus is squarely on the intense dialogue between the characters. The backdrop is bathed in a blue wash that evokes the afternoon sky, a smart choice by lighting designer Daniel Dungan. In The Zoo Story the dialogue has been slightly updated, with references to Kurt Vonnegut and other small changes that adjust the time period to a slightly more modern setting.

David Alford’s carefully crafted performance as Peter is deeply engaging and flawless. His quiet reactions to Jerry are so compelling that his mere expressions steal the show – every wince is felt by the audience. Alford expertly portrays the gradual breakdown of a composed, successful man, unveiling a deep-seated loneliness and a growing sense of fear and confusion.

Brian Niece delivers an extremely effective performance as Jerry, whose erratic narrative dominates the play. Niece’s command of the physical space is impressive, his movement adding raw energy to increasingly desperate dialogue. At times, Niece’s confidence overshadows the character’s vulnerability; however, his portrayal is nonetheless captivating, marked by sharp physicality and emotional zeal.

Slow Burn is intellectual theater at its best, offering performances and staging that are at once thought-provoking and thoroughly entertaining. David Alford’s outstanding contributions as a director and as an actor merit significant acknowledgment; his participation would be highly advantageous for any future project fortunate enough to involve him. While the plays contrast in presentation – from the constructed reality of The American Dream to the raw, visceral experience of The Zoo Story – both delve deeply into the exploration of personal illusions, loneliness and the universal search for meaning. Don’t miss the chance to experience this fascinating theatrical endeavor firsthand.

Slow Burn: Edward Albee’s One Acts: The American Dream & Zoo Story runs Friday, July 12 through Sunday, July 28 at the San Marco Church.

For more information, full cast and crew credits and links to tickets, visit the Slow Burn: Edward Albee’s One Acts: The American Dream & Zoo Story page here on JaxPlays.