By Philip Doyle
At
the Dangerous Theatre on Friday night, I had the pleasure to sit next to a
handsome, well spoken, and buck ass naked man. This guy, I’ll call him BJ, was
as friendly as he was exposed. BJ seemed to be an outgoing, seize the day kind
of guy. He had enjoyed the boundless freedom of nude horseback riding, twister,
and even bowling, and this was his chance to mark “attend the theatre nude” off
of his bucket list. I admire people like that, and BJ wasn’t the only member of
the audience who chose to attend Winnie Wenglewick’s inspired production of Dark Wood sans clothes.
I
was in the small minority of clothed theatregoers on the sold out, one night
only, clothing optional for everybody experience. Perhaps next time Winnie
offers a nude audience night, my sense of adventure will conquer my modesty. But
in the meantime, Dark Wood continues
its run and this time just the actors are going au natural.
Dark Wood tells a
rather brilliant tale of three apes in a cage that is a fresh and insightful foray
into the human psyche. Peter McGarry’s provocative script is layered with
existential themes that address concepts of free will, consciousness, and
identity. It grapples with confinement and quest to understand what lies beyond.
Reminiscent of Sartre’s No Exit, and Becket’s Godot, McGarry’s Dark Wood evokes meaningful thought
while keeping the audience thoroughly entertained.
Okay
now… Let’s talk about the… um… elephant
apes in the room. The actors are unabashedly
nude. While this could serve as an ever-present
distraction, the actors overcome the challenge of being upstaged by their junk
swinging to and fro with focused delivery and intent.
I
haven’t been around naked men in a rather long time, and frankly I was nervous
that I would not be able to focus on the script. So I give mad props to the
cast, and Winnie Wenglewick’s direction that never gave me the chance to giggle
like a nervous schoolgirl. Dark Wood transcends
the flesh.
The
cast includes some great performances that weave characteristics of human and
primate. Brainard Starling is Mbwane, the wisest and eldest ape. Mbwane is broken down by age and trial, and
is fueled by hope and longing. Starling
is controlled and reserved, delivering a cathartic revelation that had my full
attention.
Ben
Pelayo portrays the ape named Strong Arm, who challenges the pecking order of
the group with brute force. Pelayo is a tough guy, playing on levels that range
from violently aggressive to restrained empathy.
Patrick
Call plays Rico, the ever inquisitive and constantly horny ape. Now I have sung the praises of some fantastic
performances in the past, but Patrick Call drives this show. Please indulge me
while I crack my knuckles and type out an inch or so of accolades for Patrick
Call: He is an actor brimming with a joyful enthusiasm for his craft that will
engage you. Any actor blessed with the ability to deliver the lines of a script
with an authentic conversational grace, with an energy and timing that raises
the bar of his fellow cast members, is my flippin’ hero. Bravo, Mr. Call… Brav-f**king-o.
It
is no surprise that I’m a big fan of the Dangerous Theatre. Winnie Wenglewick provides
original works with the opportunity to be staged in Denver that would otherwise
go unseen. Her emphasis is on originality and not on costly high tech spectacle.
There is something inherently beautiful when a good script is presented without
the distraction of high polish sets and opulent velvet curtains. It’s a happening,
all about the art, low budget, and absolutely invaluable.
If
you’re looking to see an excellent example of what The Dangerous Theatre is all
about, or a great example of innovative existential theatre, this is your
ticket.
Just
remember that Dark Wood is not about
the nudity. The flesh is simply a cage that confines us all.
Dark Wood plays
through April 26 at The
Dangerous Theatre. For reservations call 720-233-4703.
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