SOU staging deftly moves from serious topics to humorous insights while aboard the existential plane

By Lucie K. Scheuer for Ashland.news

Imagine, if you will, Rod Serling and Gene Rodenberry getting together to present a COVID, post-pandemic mosh-up of the original 15^th century morality play, “Everyman,” reimagined as “Everybody.” Now picture a group of Star Trek Enterprise crew-type characters, finding themselves in a dimension where God shows his displeasure for his creation from the confines of a granite trapezoidal edifice — where the crew is forced to face the final frontier, which in this case is death.

Well then, you would have Director Vaun Monroe’s imaginatively presented interpretation of Brandon Jacob-Jenkins play, now enjoying a short run at the Southern Oregon University Main Stage Theatre. The play opened Thursday, May 25, with performances continuing through June 4.

This thought-provoking yet humorous existential offering by Director Monroe is a constantly in-flux, well-acted stage production. It pulls you in and gives you the opportunity to explore familiar and unfamiliar terrain with its characters in a timely and timeless allegory.

From Aesop’s Fables in the mid-sixth century BCE, to Shakespeare, to Eugene O’Neill, playwrights have placed characters upon the stage in shadow and in light to embody the human condition, to face the iniquities of life and the inevitability of death. This is what playwright Jacobs-Jenkins saw in his story and what Director Monroe was able to pull out.

Morality plays, which is what this fable is based upon, were popularized and presented during the 15^th century after the Black Death, which nearly wiped out the population of Europe. They explored such themes as virtue, relationships, love, faith in God, the impermanence of life and accountability in the afterlife.

Celebrated African American playwright Brandon Jacobs-Jenkins has brought it all forward in this energetic rendering, which is presented with a sense of humor, too. It comes through the sudden introduction of a lottery machine and a few “made ya look” moments. And a well-choreographed dance number by Tegan Kelley, with a row of prancing skeletons that will reset your laughter gauge.

Director Vaun Monroe has taken Brandon-Jacob-Jenkins allegorical tale and has provided a nice stepping off point for standouts in the ensemble cast: Jodie Chapin as God, Usher and Understanding; Tegan Kelley as Death; Rachel Engh as Love; and Daphne Cowlin as Time.

During the course of the play, a main character emerges amongst the crew of “Somebodys” played by Tim Turner, who tries to convince other characters to accompany him to the afterlife, and soon discovers this is a journey one must take alone. “What does it mean when God just leaves you to figure it out?” he asks.

With a Woody-Allenish presence, an ability to move easily between comedy and pathos, he does well with the part.

Yes, there are a few moments when our main Somebody (Turner) finds himself literally running around in circles, which adds a bit of slapstick to a play that really doesn’t need it. There are also moments when one is not sure why the characters of Love, Strength and Understanding abandon “Somebody” at a time when he could use them the most. In addition, we experience a rather confusing, jolting moment, where a child is abducted by the character of Death.

The Somebody’s adeptly and respectively played by Wyatt Fisher, Connor Lomeli, Emma Richardson and Siena Schofield well-represent the different states of being, as Turner, as the key Somebody, realizes love, understanding, even possessions, cannot accompany him where he is going. That he must make the journey to the afterlife, alone.

One of the most memorable aspects of this production is the lighting, which is subtle yet illuminating. Equally as interesting was the “less-is-more” set design of a rock edifice, with a granite-like motif. What was probably not necessary were dream sequences that lasted a bit too long in the dark. Costuming by Mackie Waggoner garnered attention in some scenes, was adequate in others.

As we come back to life after two years in suspended animation, here is a play with purpose and meaning and well worth a hundred minutes of your time.

Ashland resident Lucie K. Scheuer is director and coordinator for two nonprofits in the Rogue Valley: Heart Rising Foundation (aiding Almeda Fire victims) and Uniting for Ukraine RV (aiding emigrating Ukrainian refugees). She is also a nonprofit development consultant, credentialed substance abuse/dual-diagnosis counselor and former copy editor and staff writer with the Los Angeles Times, where her work included features, reviews and a column on films in production.