Produced by Beth Marshall and presented by Garden Theatre, Children of a Lesser God is scheduled to entertain through March 30th. Beginning sharply at 8:00 pm, a thin crowd ventured back to a time where the ability to hear was wrongfully correlated to retardation and a subhuman perception… to a time when “deaf and dumb” were synonym.
Brenna Nicely and Beth Marshal directed the acts while the American Sign Language Direction by Joe Kramlinger stole the show. The cast, led by Will Hagaman (representing James Leeds) and Eliza Stevens (representing Sarah Norman), was loosely buoyed by script and thematic absence, unfortunately there was a leak in the foundation causing ennui’s perpetual slaver.
When two worlds collide, be it social, cultural, or psychological, compromise and adaptation typically bend competition, forcing compliance until a new stasis arises. Through dialectics, progression, evolution, and actualization come to find herself… this being the home of humanity. With a theme rimming with realism, toils and turmoil found a medium; if only life (and acting) were that simple.
Struggling to belong, Sarah’s inability to hear fueled the catalyst used to launch a personal revolution against a world unwilling to seek reflection and recognize prejudice. Upon stage and holding a mirror head high, Sarah closed her eyes, leaving not a crack for light’s embrace. Externalizing the internalized, has the world really changed since the original film release, October 03, 1986?
Lacking a foundation of trust, Sarah’s stubbornness to cooperate (complete denial to adapt) was linked to her childhood misfortunes. Ms. Stevens portrayed the character with diligence but lacked depth and believability. Is this University of Central Florida recent graduate a gifted actress? Unfortunately those skills were not tested. Perhaps her next opportunity will offer more than gestures and lip service.
As a whole, the cast played at a disadvantage simply by being in the historical shadow belonging to William Hurt and Marlee Matlin. Perhaps the most resounding barrier to a standing ovation was the material itself. Without an interactive set and theme, audience attention simply faded somewhere in the background.
Directed to duplicate the original score, an over-drenched length and lack of creative license proved to be a downside and the flaw releasing spurts of widespread boredom. Distracted by lack of inspiration, a limping twist never lifted beyond a quick gasp while the conclusion resolved nothing but an even quicker exit.
With that said, I am hoping you will give Children of a Lesser God a try. Let me know if you see (and hear) something other than was detailed above. After all, I may be the odd one out.
Danny Hufman, MA, CEIP, CPRW, CPCC
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