Content Warning: This play is only suitable for mature audiences. It includes violence, racist/homophobic/transphobic/ableist language, pervasive strong language, and adult themes.
The play's run is only two weeks. Its runtime is 100-minutes without intermission.
The first public staging of Granite State Proud, an original by Bretton Reis, is up at The Players' Ring. It is an intriguing and infuriating watch, difficult and challenging on many levels.
In its current state this play is rightly a workshop - the norm for a bonafide inaugural staging - unlike , Reis's earlier polished works, such as Stat Geek in Natick.
As an early life, GSP is a play with a firecracker concept, lots of strong ideas, arrangements, and an interesting structure. The dialogue is smart and offers touching, poetic moments. Finally, to the core, it is a timely, interesting and pertinent subject matter.
It's set in upper state New Hampshire, and explores the circumstances that can lead to the radicalization of a group of male friends, while seeking to flesh out the total person rather than hone in on a single aspect.
Theatre has long been a place to explore the uncomfortable, and this script does just that.
GSP is a rare conversation, which when it happens "in the wild'' often elicits a call to arms - metaphorical and sometimes real. Here it's a conduit to safe conversation, and intended as a route to greater understanding. (All shows will offer a talk back with the author and others involved).
On opening night the cast nailed their difficult roles, for the most part. There were a few actors who took time to find footing or wavered a bit, but overall it's a strong ensemble.
There certainly are standouts: Griffin Gower as Dipshit Brad, one of the "guys," in the men's club, is pure gold; Matt Schofield, the men's leader, gives an impeccable performance as Briggs, and Billy Butler is part soothing, part chilling, lots unnerving, in an impressive portrayal as Riot Riot.
Landing some mighty fine work: Taryn Herman's heartfelt, quiet, and authentic performance as Apron Lady is beautifully moving. Jacob Zentis as Camel, a men's club member, lands a spot-on portrayal of the "everyday guy." Sam Smith as Berry brings it as the devoted wife, and supportive partner.
The first night production's drawbacks are slow pacing, and the occasional difficulty hearing words. It's hard to know if it's the choice of Director Reis or just first-night performance nerves. The upside is the staging, movement, and character development, something as its author, Reis best understands.
Both set and lighting design by Reis, and costume design by Emma Cashman support the piece.
As one audience viewer remarked, this is a show that will hit a nerve - lots of them. The periods of pin-drop silence throughout the evening certainly speaks to the work's power. This is a piece, while in its early stages, that still packs a punch.
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