The adaptation is ingeniously done and made successful in conjunction with one of the most beautiful sets I've ever seen. An arid desert full of holes one moment to a lake side community made abundant by waves of flowing water. Add in a lighting design that perfectly connects to and transforms the sets as needed...it was magical. Kudos to Scenic Designer Sydney Lynne who was brought in from Chicago to craft this inspiring set, and Jesse Belsky for the accompanying Lighting Design. I've seen Jesse's work before, but always in standard, unimaginative productions where success is determined by the way you DON'T notice the lights.
The actors were a wonderful mix that in some ways mirrored the audience at today's matinee. Clearly the word is out, because there wasn't an empty seat in the place, and this on top of the fact that it was also the annual Mount Washington Flower Sale just one block behind the theatre! Thus the traffic and parking were a thing to be avoided--it also explains why I was able to get such a good seat so late in time... The audience was split 50-50 between folks my age and up and young parents with children (ages 7 to 12, upper elementary). The gentleman who sat next to me referred to me as "young man" and regaled me with stories of shows he'd seen as a young man in the theaters than no longer even exist in Charm City. Like the time after one performance he ran into the Smothers Brothers at the bar at a nearby hotel and they spent the evening drinking and enjoying one another's company.
The parallel with the cast was a divide between established, seasoned actors, and those young men and women still in high school dreaming of their way into the business. Among the older set were several familiar and dependable staples in the DMV actors' scene: Marcus Kyd, Emily Kester, Jonathan Del Palmer, and Susan Rome. I've followed all of them over many productions and none more passionately than Susan who can do it all and with such gusto! From a supporting role in "Brighton Beach Memoir" to a solo show on the life of avant garde sculptor Louise Nevelson, and most recently in a cast written, experimental production on the theme of caring at Mosaic Theatre in the District. In truth, I first noticed her in a recurring role as assistant district attorney over a couple of seasons of "The Wire". Here again, she chameleon-ed herself through a series of roles with the comedic timing of a truly gifted professional.
Seven roles went to the young folk as inmates in this nightmarish and farcical juvenile rehabilitation camp called "Green Lake" where there is no lake and nothing is green. Three are students at the Baltimore School for the Arts, and another is a senior in a different Baltimore High Schools acting program. It is so exciting to see such talent on stage in its nascent moments. The main role is that of Stanley Yelnats IV portrayed by Zachary Corey; the aforementioned senior in the Acting Magnet Program at G. W. Carver Center for the Arts and Technology. No matter how good everyone else is in this play--the production lives or dies on the shoulders of this young man for whom this was his professional acting debut. I can't imagine the pressure, but I didn't have to, because he was magnificent. He took on the role with such a natural ease that never fell into pitfalls that can plague inexperienced actors like relying on some cliche or gimmick to define a character's disposition. Instead, he just was Stanley to the point that near the end when exhausted by his quest he collapses in despair in the desert and cries, I completely forgot that he was an actor playing a role, and instead, wanted to weep with him in empathy with his situation. Additional shout outs go to Kimberly Dodson as Madame Zeroni and Jude Sincere as Zero.
"Holes" at Baltimore Center Stage is a triumph of story telling and a joy start to finish.
POST SCRIPT: Prior to the beginning the company often sends out a member of the Board or behind the scenes administrator to welcome the audience and make a pitch for contributions. The young man who got the nod today began by describing Baltimore Center Stage as "Maryland's Official Theatre Company". I thought, "What the fuck? By whose standards?" Then I realized that it was certainly the result of some promise of state money to underwrite the company, and like other such agreements (The Maryland Zoo, for example) probably exacted an expectation of free performances for Public School groups to performances like this one. I know they also have an ongoing program that teaches acting at some of the state's juvenile jails--something I think is 100% a good thing.
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