THEATER REVIEW: Berkshire Theatre Festival offers compelling production of No Wake

No Wake

By William Donnelly

Directed by Kyle Fabel

(Unicorn Theatre, Berkshire Theatre Festival, Stockbridge, Mass., $15-$39)

 

A Berkshire Theatre Festival production of a play in one act

David Adkins as Edward Nolan

Jurian Hughes as Rebecca Padgett

James Lloyd Reynolds as Roger Padgett

 

Reviewed by Lesley Ann Beck

[STOCKBRIDGE, Mass.]--Married couples develop their own way of communicating, a kind of shorthand that comes from years of conversation, interaction, argument. What might happen if that relationship has broken down, but the former partners are brought back together in the face of a tragedy? And what if that tragedy is something so painful that they have no idea how to express their feelings about it? William Donnelly’s beautifully written new play, No Wake, explores the challenges faced by a once-married couple dealing with the death of their child, in a compelling world premiere at Berkshire Theatre Festival.

 

David Adkins is superb as Edward Nolan, a divorced man who finds himself at a memorial service for his deceased adult daughter, forced to interact with his ex-wife and her new husband, in a nuanced performance that grows in charm and warmth. Jurian Hughes is excellent as Rebecca, a woman torn between her need to move forward and her equally strong need to understand, and make peace with, her past. Hughes is acerbic, bitter at the outset, but softens as the play's action unfolds. In directing No Wake, Kyle Fabel has crafted a quietly powerful experience for the audience, revealing in subtle steps the depth of feeling that still exists for Edward and Rebecca, emerging from their grief and guilt.

 

The premise sounds dark, but there is a great deal of humor in the play; the first scene is between Edward Nolan and his ex-wife’s new husband, Roger Padgett, after the memorial, and neither one has any idea of how they should interact. The awkwardness increases when Rebecca enters and we learn that the daughter committed suicide, and left a request that there be no wake. James Lloyd Reynolds does a fine job as the Roger, the new husband who isn't sure where he fits in; these three actors function as an excellent ensemble.

 

The next scene firmly establishes the excellence of Donnelly’s writing. Adkins, as Nolan, is in his hotel room, and Hughes, as Rebecca, comes in to talk to him. He wants no part of it, he would prefer to put the tragedy behind him, but she needs to discuss the loss of their daughter. As they spar, we see the old patterns, the old habits from their marriage resurface. He wants to avoid the topic; she won’t let him off the hook. Rebecca is struggling mightily with her loss and she needs to connect with him, the only person who can share her feelings.

 

Donnelly has created dialogue that is so authentic, that has so much truth to it; the rhythm, the shades of meaning, the words that are unsaid and the ones that are blurted out; it’s beautifully done. This is an intimate show, and the performances of the actors, the finely calibrated direction, and the magnificent writing all combine to take the audience into the lives of these sad, grieving characters.

 

This visual aspects of the production work well, too. When the play begins, the stage is set with groupings of furniture covered with an enormous tarp. The actors pull back the tarp, bit by bit, revealing whatever furniture is required for the next scene, a construct that works perfectly for this play. The sparse set by Campbell Baird is ideal, and Paul Hackenmueller’s lighting design, with well-chosen projections, complements it very well. The costumes, too, by Charles Schoonmaker, are simple but just right.

 

The show is a tight, well-paced ninety minutes, with some surprises and quite a few laughs. The writing is fresh, clever, and edgy throughout, and the performances are very fine. All in all, it’s a compelling evening in the Unicorn.

 

Scene design, Campbell Baird; costume design, Charles Schoonmaker; lighting design, Paul Hackenmueller; sound design, Shane Rettig; stage manager,  

(Through October 24; running time is 90 minutes with no intermission)

Lesley Ann Beck is the managing editor of Berkshire Living magazine. She reviews theater and the arts for www.berkshireliving.com.