Voices from the grave haunt ‘Spoon River’

Tom Titus

It’s fitting, actually, that Vanguard University chose to present

“Spoon River Anthology” this close to Halloween, since all the

characters in Charles Aidman’s adaptation of Edgar Lee Masters’ grim

treatise on 19th-century life speak from beyond the grave.

These “haunting” vignettes -- which, in effect, take the third act

of Thornton Wilder’s “Our Town” one step further -- paint a grim

picture of life 150 years or so ago, and of marriage in particular.

One must wonder about the condition of Masters’ own union, as the

couples he paints mostly are at one another’s throats, on one

occasion literally.

It’s not a pretty picture, but under the resonant direction of

Andrew Levy, Vanguard’s production is an impressive work on most

counts. Masters, with Aidman’s embellishment, sketched brief slices

of life told after death. Levy and his strong ensemble cast have

fleshed out these spectral images, even on the occasions when

Masters’ words often don’t strike a chord with 21st-century

audiences.

Since each of the nine cast members, excluding vocalizing hostess

Colleen Joy Warner, play many roles, it could be difficult to

ascertain who’s who in all these blasts from the past. Vanguard has

solved that problem by presenting a large tombstone, on which the

names of each character is projected as he or she appears.

The rear-screen projections on a flimsy front curtain establish

the atmosphere of the period. Unfortunately, the projector’s light is

beamed straight at the audience, negating much of this intended

effect and interrupting the absorbance of the often poignant story

line.

The college’s actors and actresses excel in a wide range of

character roles, particularly the luminous Heaven Peabody, who

injects a superb visceral quality into the women she interprets.

Peabody is especially gripping on one occasion as she feigns suicide,

with red ribbons flowing from her sleeves to represent blood.

Jeff Fazakerley and Adam Eugene Hurst take on the most varied and

demanding male characters, each displaying a strong affinity for

these long-gone figures who range from reprobates to clergymen.

Fazakerley’s fervent Elijah Browning and Hurst’s comical felon Hod

Putt are among the evening’s top performances.

Andrea Carpenter, Autumn Ellis, Mark Parker, Robyn Riedel,

Elisabeth Rose and Rhiannon Wentworth complete the sterling ensemble,

with the statuesque Wentworth contributing some of the most riveting

pieces. Parker’s slightly off-center characters are equally

impressive, including a town outcast who applied himself sufficiently

to become a judge and command respect.

Vocalist Warner is the play’s link with the audience. She reads

from Masters’ original work while his characters come to life (of a

sort) behind her. Her soothing melodies are particularly enjoyable.

Scenic designer Tim Mueller’s sepia-tone unit set works well for

the project, and Dan Volonte’s sound and lighting designs (with the

exception of the rear projection noted earlier) embellish the

atmosphere. Musical director Yau-Sun Wong and his five-piece

orchestra add to the moody tone of the show.

The most significant technical contributions here, however, are

Lia Hansen’s period costumes and makeup, which combine to convey the

late-19th-century effect. With only seconds to establish a character,

physical appearance is paramount in “Spoon River Anthology,” and

Hansen ensures an effective first impression.

“It takes live to love life,” one of the play’s characters

proclaims, and Vanguard’s presentation truly appears to be a labor of

love. The various lovers, teachers, clergymen, drunkards and harlots

of Masters’ original imagination come strongly, if not always

succinctly to life in Vanguard University’s production.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.