The Monroe Theatre Guild's production of The Drawer Boy is community theater at its best. This is a small play with only three characters, but the story of these two farmers and a playwright is large and powerful. In a simple farm kitchen, a drama unfolds with implications both intimate and global. David Bristow directs with his usual keen perceptiveness and skillful management of the scenes. We are planted in a culture of increasing conflict and confusion.
The theme of the narrative is deceit in its many forms, from a kind of simple pretending to outright lying. The consequence of this deceit takes many forms, as well, but even lying that is intended to protect those we love is shown to equally undermine relationships by destroying trust. The implications for a culture, our own for instance, are obvious.
This is a cast of competent actors in Chris Weis as Angus, a disabled veteran and would-be-artist turned farmer; in Gary Johnson as Morgan, Angus' caregiver and a real farmer if not would-be-comedian. And in Matt Finkenbinder as Miles, a would-be-playwright and actor, whose invasion of this closed culture - which had once held so much promise - creates the conflict.
These all are challenging characters, but the figure of Angus is by far the most difficult. The disabled are more often caricatured in theater and movies so that we see a set of symptoms, and like a medical technician we maintain a distance, and the drama fails.
Chris Weis embodies the full character of Angus, and although he displays the symptoms of Angus' disability, he also portrays his humanity. The audience at once feels his confusion living in this world with its lies, the fragmentation of his psyche, and the need to become whole once more. Weis' portrayal is a tour de force.
This production deserves to be seen. It's aptly chosen as part of the Monroe sesquicentennial celebration. The experience can be profound.
Performances continue this week on Thursday, Friday, Saturday, and Sunday, April 24-27. Call the Monroe Arts Center for tickets at (608) 325-5700.
The theme of the narrative is deceit in its many forms, from a kind of simple pretending to outright lying. The consequence of this deceit takes many forms, as well, but even lying that is intended to protect those we love is shown to equally undermine relationships by destroying trust. The implications for a culture, our own for instance, are obvious.
This is a cast of competent actors in Chris Weis as Angus, a disabled veteran and would-be-artist turned farmer; in Gary Johnson as Morgan, Angus' caregiver and a real farmer if not would-be-comedian. And in Matt Finkenbinder as Miles, a would-be-playwright and actor, whose invasion of this closed culture - which had once held so much promise - creates the conflict.
These all are challenging characters, but the figure of Angus is by far the most difficult. The disabled are more often caricatured in theater and movies so that we see a set of symptoms, and like a medical technician we maintain a distance, and the drama fails.
Chris Weis embodies the full character of Angus, and although he displays the symptoms of Angus' disability, he also portrays his humanity. The audience at once feels his confusion living in this world with its lies, the fragmentation of his psyche, and the need to become whole once more. Weis' portrayal is a tour de force.
This production deserves to be seen. It's aptly chosen as part of the Monroe sesquicentennial celebration. The experience can be profound.
Performances continue this week on Thursday, Friday, Saturday, and Sunday, April 24-27. Call the Monroe Arts Center for tickets at (608) 325-5700.
