Theater Reviews

Oct 16, 1999 - Gothic North's "Swan Song" Too Much Talk, Too Little Song

By Jack Neal

"The Swan Song," a Mike Johnson play billed as a study in terror which opened Friday night (10/15/99) at Reno's Gothic North Theater, is less a study in terror than a study in talk.

Not so reminiscent of an Alfred Hitchcock cliffhanger as a chatty professor's 15-minute lecture jawboned in an hour long snorer, "The Swan Song" frustrates more than it entertains. What is good about it, is the play's last three minutes. But are three minutes worth waiting, and waiting, and waiting for?

One of the production's other problems - and a major one - is the hesitancy with which Johnson's talky lines are delivered. The cast is all too hesitant, something that will become less of a nuisance as the play plays out its dates. On opening night, however, this lent a touch of humor to what Gothic North hoped would be its gothic thriller for Halloween. Using the wrong names for characters, then having to retract them as an assist to moving the plot along, is something more akin to retirement home conversations than an on-the-edge-of-your-seats play.

"The Swan Song's" premise is a good one (and won't be given away here), but it's never fleshed out enough to make an audience want anything more than having the actors get on with it. Tidy bits are mentioned, such as the style of phone on the wall, that come off as possibilities for major plot hints, then are left dangling without any connection to the action.

As directed by Gary Helmers, "The Swan Song" never finds the legs that might get it running beyond its penchant for slow-walk chat. Further, the play's over-abundance of chat rarely has the projection to be enough understood so that listeners can figure out what's going on. Being in on the unraveling of a plot is important in the suspense business.

Allen Jones plays Rhamat Singh, an eastern-type mystic. Dark, swarthy and turban clad, Jones looks the part. The fact that 90% of what he says is lost on American ears is but another of the play's snags. The remainder of the cast - while more understandable, rattle on at length over one thing and another with little connecting going on between player and audience. Melanie Collup, who is more-or-less the play's center of attention, gives a pleasant performance as the bereaved and conniving Olivia, but never quite latches onto the two faces of, say, a Bette Davis that would make Olivia a rivetingly compelling personality.

David Zybert brings a flailing intensity to Miles Jarvis, Olivia's fiance. Does Miles have his bride-to-be's best interests at heart or is he more interested in her sizeable estate? Mr. Zybert's too-wide-open performance is more of a pot boiler than a plot builder. As Olivia's boozy aunt, Lolinda, Kathy Kollar is on solid ground with her a-bottle-a-day-keeps-the-troubles-away philosophy.

In supporting roles, Karyn Edwards (Aletha) brings a clipped English regality to the proceedings, John Coney (Gary, the family attorney) is well-cast, but insecure, Julie Robertson (Emma, the house keeper) is a tad overdrawn, but nonetheless on target as a family loyalist.

The set (designed by Gary Helmers), costumes, lighting (Rick Patton) and sound (David Zybert) all have the Gothic Norths Theater's usual stamp of excellence.

"The Swan Song" plays Thursdays at 7 p.m., Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m. through October 31, at the Gothic Theater in Viewcrest Center, 3937A Kings Row, Reno. For information call 775 329-PLAY, or check out the Gothic North Theater's website at www.gothic-north.org.