IN REVIEW

 

On the Rock rocks out with ‘Bones & Pie’

 

By C.S. GILBERT

 

Heads up, Daddy Waterfront and Mama Red Barn. Pay attention, Sister Fringe and Brother Summer Stage. Key West has given birth to a new, bouncing baby theater company—and it had a hell of a delivery Thursday, Jan. 29 at the new Key West Theater, a phoenix rising from the ashes of the neglected building known as Eaton Street Theater at the corner of Eaton and Bahama, right behind St. Paul’s.

 

On the Rock Productions, which is founders/producers Michael Marrero and Juliet Gray, with help from family and friends, arrived with a mind-boggling, twisted big bang in the opening of its first official show, Bones and Pie, staged in the beautifully refurbished venue. A collection of one-act plays by Marrero, Landon Bradbary, Jon Rhoades and Eric Weinberger, this probably qualifies as the most knock-your-socks-off opening in Key West history, with the possible exception of the original Key West Symphony Orchestra, which shared its debut with the Spectrelles.

 

From Bones & Pie’s first play, the short monologue “Pie,” with early whispers of Sweeny Todd and expert y’all Southern modulation by Erin McKenna, the opening night audience knew they were in for something unusual. By the time (spoiler alert) the body was dragged offstage during the set change, an honest-to-gods shiver of anticipation ran through the almost full house, enjoying their beer or wine at tables in the cabaret seating.

 

Second came “Eye Contact,” like the opener also written by Jon Rhoads. This longer one-act is about co-workers in some sort of a security agency, intensifying the creepy vibe, albeit with a good deal of humour, as whenever actor Pony Charvet opened his mouth. The character he creates here is almost worth the price of admission. But he was matched by very strong performances by Chad Newman, Brandon Beach and Erin McKenna, closely followed by Lliam Dufresne.

 

Dufresne is a relative newcomer to both Key West and the theater, so it’s perhaps unfair to compare him to the rest of the actors, all popular and seasoned professionals. He is attractive and his acting is fine but his diction still needs considerable work. Too much of his dialogue, here and in the show’s penultimate “Hands and Bones,” was lost.

 

Act One closed with “The Nightwatchman,” by seasoned playwright Eric Weinberger (think “The Dog Story” last season at the Waterfront). This provided the opportunity for a bravura performance by Newman, who created a nuanced character who, in spite of his quirks and prejudices, was likeable and poignant. This show is a challenging, long monologue, and Newman’s character didn’t miss a step. Hopefully the back of his uniform shirt was left untucked on purpose. It made for a touching final visual.

 

This is as good a time as any to commend Marrero for his direction, which seemed flawless. Physical blocking, emotional fine tuning and pacing were all right on, and this was only opening night. All shows settle in and get tighter and better during an extended run. It’s scary to think how good this show could be, particularly its rapid-fire dialogue, by closing Feb. 14.

 

Audience members are advised to get a drink and fasten their seat belts for Act Two, a blend of outrageous, twisted hilarity and heart-pounding, twisted horror. The comic “Hands & Bones” by Bradbary is notable for its adult sexual content and gunplay and amazing performances by Charvet, McKenna and Beach, although Charvet almost steals it. And the finale, the verbal but almost orchestral duet/dual “Locura” by Marrero, brilliantly performed by Bradbary and Beach on a bare stage, with only changing lighting on the back scrim, is a Key West history lesson one won’t easily forget.

 

The one-page, poster-sized program (not my favorite, guys) doesn’t offer clear credits for tech, crew and house contributions, but Rhoades is listed as stage manager and co-producer Gray was noted as marketing and box officer director; perennial ticket diva Carolyn Cooper was staffing the ticket table, although I’d rather see the talented actor-dancer-comic on stage. Marrero’s father George served as set painter and Spanish language coach—a major task brilliantly done in “Locura.” Set pieces and projections were effective and costumes were especially fine, so a tip of the hat to whomever.

 

The run is a benefit—see performingartsproject.com—and sponsors thanked were Alexander Palms Court, Authors Guesthouse, Blue Parrot Inn, Bluesoup Design, Badboy Burrito,Digital Island Media, Isle Style, Jimmy Lane Real Estate, Key West Theater, Liz Love Fitness, LPL Financial. Nick Doll Photography and Tap Johnson.

 

Welcome to the community’s theater family, On the Rock and Key West Theater. Your marvelously twisted official opener earns several Depends and a Kleenex tissue, preferably along with a debrief over a very, very stiff whiskey afterwards. Folks, see it if you dare.

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