LOGAN —As part of the Lyric Rep season every summer in Logan, Utah for the last few years, they have had a show entitled InterAct, which features new works in a reading setting, where the director, this year directed by Herb Newsome, gathers some of the players that have been working hard in the other shows in repertory this season, for about four rehearsals to see if they can help bring to the stage some of what the authors hope will be the final project of two works in progress.
The first of these shows, Do You Trust Me?, by Summer S. Session, starts out as a quaint tale of friendship with a surprising supernatural twist at the end. The second, Destiny’s Date, by Lorenz Gido, has a similar feel, of teenagers out to have an evening of fun but get mixed up in more than is expected with characters from more than our world.
The interesting thing about attending an event like this is what happens after the show. The production time for both shows is just over an hour, and then the audience is invited to stay and discuss the experience with the director and players. Even though it is a work in progress with little rehearsal time, and actors have script in hand, the skill of these actors is evident. Although the set at the black box in the performing arts building on the USU campus was designed for different shows entirely, it was not hard to imagine I was in an old abandoned house or in a classroom with the talents of the actors in front of me. For instance, watching Mitch Shera play Fate in Destiny’s Date was quite a treat. His ability to manipulate his vocal quality was impressive, and gave me no doubts in believing that he was a powerful being. Cameron S. Neeley as Dean was charming and understated, which was very beneficial for the role he was playing. What was even more impressive about this was that in the show just before, Do You Trust Me?, their characterizations were quite different, and having only four rehearsals to build these characterizations while rehearsing and performing other shows is an impressive feat indeed.
When throwing a production together in such a short time frame, I want to praise stage manager Katy E. Sullivan. The idea of having only four rehearsals to put together two coherent stories on a set that is not meant for the story, with actors that are busy with other shows and other commitments means that Sullivan has to be completely organized and on top of every minute, and it is a role that is overlooked yet vital to every minute of a good production.
One of the things that was a little frustrating about this program was the small attendance. Part of that may have been the Friday matinee timing, making it hard for anyone who was working to be a part of it. However, I think part of the small attendance is also because people do not know what to expect from a show like this. A reading? New works? Why should I attend this when I could go to something I know I love? This was the question I posed to the director and the cast members. As a professed theatre lover myself, I am enthralled by the process of art, and, forgive the quote, “how the sausage gets made”, so I love the idea of having seen these two productions with script in hand, and will gladly watch to see if they grow and change and get full productions in the future. How do I help other audience members want to be in “the room where it happens”?
Director Newsome pointed out the personal connection one can get when watching a work in progress, when seeing an actor with a script in hand, and then connecting with the playmakers, sharing your own personal thoughts, and seeing your feedback be considered. As he interacted with myself and others in the small venue, I saw that connection and realized that is exactly why theatre in Utah, theatre in small venues, and supporting works in progress that happen in places like the Lyric Rep are such an integral part to the theatrical process of our state. It is not the polished perfection of a million dollar production where you paid close to $200 for a ticket, but it is a fascinating look at the process of storytelling and how to craft a story from the beginning. The ability to see something in its infancy and then watch it grow is unique and not to be missed.
This review is generously supported by a grant from the Utah Division of Arts and Museums.
