The play by Elaine Smith focuses on the world of a close knit family living on a farm in Florida. There is the smart one (Miriam, played by Dana Benningfield), the dumb one (Jimmy Ray, played by David Van Pelt), and the crazy one (Arletta, played by Maureen Silliman). Together they are trying to get through the 7th anniversary of the day Miriam's daughter died in a drowning accident — a day that would change all of their lives. Surviving the anniversary is one of many storylines in the play, something which restricts the play from reaching its full potential.
A major storyline involves the many craft angels created by Arletta. She does not sell the angels, they are designed to protect the family because they could not protect Miriam's daughter. Some in the town think of her as crazy because she has psychic visions. The main problem is that her visions, like her most recent one, aren't always clear.
Another major storyline involves the health of Miriam. She is supposed to have important medical tests conducted, but keeps putting them off. On several occasions, she reminds her siblings that they should worry about what will happen when she's no longer around. This is a rather unsubtle way of saying that she knows she is dying. She also doesn't care. Without her daughter, she doesn't have much to live for anymore.
Smaller side storylines involve the relationship between Miriam and her ex; who was to blame for the daughter's death; how to get Arletta out of the house and into the real world again; and whether Jimmy Ray can ever find a job.
I understand the playwright's goal of bouncing all of these storylines around the anniversary of the child's death, but the end effect is that none of the storylines are fully realized and they all wide up kind of muddled. The storylines all seem to balance one another out to the point in which the play moves at the exact same speed until the very end when there is a lot of action. You don't need people yelling or throwing things in every scene, but a little variety helps. For example, rather than simply getting a shotgun as a threat, why not have it go off? Break the monotony a bit?
Performance-wise, David Van Pelt steals the show as Jimmy Ray. He's a dead-ringer for some of the good ol' boys I saw while living in the south. His scenes are often funny and actually include some of the most insightful comments in the play.
There are good elements in Angels and Ministers of Grace, but the play would benefit from a choice as to which storyline is the strongest and an application of focus. Having many things happening simultaneously may be real life, but it doesn't always make for good theater.
PHOTOS by SuzAnne Barabas. TOP PHOTO: Maureen Silliman and David Van Pelt
BOTTOM PHOTO: David Van Pelt, Dana Benningfield and Maureen Silliman
Infusing a classical oratorio with blues, gospel, jazz and soul, this musical and visual journey investigates human experiences of time and memory alongside powerful physical forces that shape the universe. Our exploration emphasizes the significance of the ritual of gathering for live performance in an increasingly screen-focused world.
Featuring the students of the Lewis Center as the cast and crew, this production is the first non-professional performance of this important new work which premiered in 2022 in New York City to great critical acclaim.
Directed by visiting Iranian artist and director Nikoo Mamdoohi, with English to Latin translations by Greg Taubman, Princeton Class of 2006, the professional team includes music direction by Emma Sway, music supervision by Solon Snider Sway, set design by Afsoon Pajoufar, lighting design by Kelley Shih, sound design by Kay Richardson, costume design by Keating Debelak, choreography by Sariel Golomb, and stage management by Milan Eldridge, Princeton Class of 2020. Juniors Lota Alagbe and Peyton McLaughlin serves as dramaturgs.
Infusing a classical oratorio with blues, gospel, jazz and soul, this musical and visual journey investigates human experiences of time and memory alongside powerful physical forces that shape the universe. Our exploration emphasizes the significance of the ritual of gathering for live performance in an increasingly screen-focused world.
Featuring the students of the Lewis Center as the cast and crew, this production is the first non-professional performance of this important new work which premiered in 2022 in New York City to great critical acclaim.
Directed by visiting Iranian artist and director Nikoo Mamdoohi, with English to Latin translations by Greg Taubman, Princeton Class of 2006, the professional team includes music direction by Emma Sway, music supervision by Solon Snider Sway, set design by Afsoon Pajoufar, lighting design by Kelley Shih, sound design by Kay Richardson, costume design by Keating Debelak, choreography by Sariel Golomb, and stage management by Milan Eldridge, Princeton Class of 2020. Juniors Lota Alagbe and Peyton McLaughlin serves as dramaturgs.
