“A Behanding in Spokane” Has Possibilities; Needs Work
Toby (Leonard Jackson) with severed hands to sell.
Photo courtesy of Bricquet Media LLC
“A Behanding in Spokane” is a dark, witty comedy by Martin McDonogh, first opening in 2010. It’s the story of four people in dire circumstances resulting from exceedingly improbable motivations. Oklahoma City Theatre Company opens Season 19 with a show destined to bring hilarity to the ordinary folks who don’t necessarily have such bizarre situations; but real life is fraught with far-fetched situations nearly as ridiculous as the one these characters find themselves experiencing. For example, Don Taylor who plays Mr. Carmichael took the role three days before opening, having directed “Suite Surrender” at Jewel Box Theatre, in which he also performed in the lead role just the prior weekend. It’s likely a miracle that he remembers who he is, much less the lines in the show! One also wonders how long the other three actors have been playing their scenes to a convenient broom.
David Bricquet has joined Oklahoma City Theatre Company as Managing Director, and alongside Artistic Director Kory Kight-Pagala brings fresh, new ideas and innovative productions to the stage. Kight-Pagala directs “A Behanding in Spokane” and, given the difficulties with this production, might have considered delaying the opening one week.
The play is about a desperate man, (Carmichael) who has been searching for his hand for 27 years. He meets a young pair of inexperienced con-artists who have convinced him that they will sell his hand back to him for $500.00. The two are Toby and Marilyn and their previous criminal experience is dealing marijuana so no one is surprised that they have brought the wrong hand. Carmichael ultimately chains them to a radiator in the seedy hotel room where they meet until they can produce the correct hand. All is not lost—the reception guy can surely rescue them. His name is Mervyn, referred to as ‘reception guy’ or ‘boxer shorts’ because of his favorite attire, has his own agenda and no concern for others hour of need. One suspects Mervyn is not playing with a full deck, but is, somehow, cheating.
The key to successful comedy is always in the timing. Without that critical element, humor often falls flat. Considering the inauspicious start of this production, it’s not surprising that they have not, yet, pinned down the elusive moments that need to be timed exactly right. They have grasped a few of them and there is every indication that with a few more rehearsals and performances they can make the audience do more than titter—they’ll have them rolling in the aisle. Being as the show runs through November 5, 2017, they have the time to do exactly that.
In addition to Taylor, the actors are Kaylan Ferrell as Marilyn, Leonard Jackson as Toby and David Burkhart as Mervyn. Taylor is off to an excellent start as Carmichael, bringing a realistic portrayal. Ferrell is quite believable as Marilyn, a young woman fallen in love with a small-time dope dealer, and Jackson is equally believable as that desperate young man who doesn’t have the intelligence to be a successful or unsuccessful criminal. The two of them have a chemistry that will build throughout the course of the show. As they develop their relationship, the interplay between the couple and Carmichael, their potential client/victim will also develop positively.
Burkhart’s Mervyn is an unusual character. His persona is fragmented, and he is impressed with his own intelligence which seems to be limited. Burkhart sometimes overplays this aspect, making the encounters he has with the other characters too confusing for the audience to follow. His performance may come together with further rehearsal. Burkhart can’t carry off a man bun, and neither can Mervyn, making the choice of hair style for the character absolutely inspired.
Be aware that there is a gunshot. Taylor handles the gun naturally and he also handles the lack of one hand easily. There are also several severed hands that are essential props. All of the actors need to handle them skillfully although not necessarily respectfully, requiring extensive rehearsal. The cavalier treatment currently employed detracts from the story and reveals that they are only papier-mǎché, destroying the humor that is intended while interjecting audience derision.
“A Behanding in Spokane” is staged well for the space at CitySpace Theatre, however, because the placement of essential furnishings is downstage, much of the crucial action is unseen by a significant portion of the audience. CitySpace Theatre is in the lowest level of the Civic Center Music Hall. It is a thrust design, with a square stage and three seating areas surrounding the stage, rather like a U shape. The north wall is the backstage area and the seating is on the east, south and west sides. Prime seating is usually in the south section, however it is only on the first row where important action can be seen, and that may be a little too close for comfort. The east and west sides may be a better choice for patrons to understand the action taking place on stage.
“A Behanding in Spokane” plays through November 5, 2017 in the Civic Center Music Hall in downtown Oklahoma City. The address is 201 North Walker Avenue. Tickets are available at the box office and that number is 405-297-2264. For additional information contact the Oklahoma City Theatre Company directly at 405-626-6605.