by Joseph Szalinski
Wouldn’t it be nice if everyone could just get along for the holidays? If harmony could be sustained regardless of circumstance or the like? While that’s desirable in the real world, it’s thankfully the opposite of what we get in Jon Robin Baitz’s Pulitzer-Prize winning drama, “Other Desert Cities”, which is being performed at Butler Little Theatre by director Katie Moore.
Originally titled “Love & Mercy”, like the Brian Wilson song of the same name, “Other Desert Cities” follows the Wyeth family, a gaggle of veritable heroes and villains. In addition to Lyman (Tom Smithyman) who used to be an actor, Trip (Sam Thinnes) is a television producer, Brooke is an author, and Polly and Silda wrote movies together. The oldest child Henry, a militant Beach Boys fan beset by mental illness, becomes complicit in the shady dealings of a cult, and eventually meets a watery end, much like Dennis Wilson, the drummer of the aforementioned pop-surf band.
Laura Crago brings a bruised brilliance to the role of Brooke Wyeth. A former California girl who relocated to the east coast to become a writer, Brooke returns home to sort some things out before her second book hits the shelves. Unfortunately, her memoir is poised to disrupt the good vibrations in the house, so she must figure out the best way to keep the peace while still ensuring she gets to speak her truth. Navigating such emotional turbulent material allows Crago to demonstrate the range of her abilities.
Tom Smithyman commands the stage as Lyman Wyeth, an actor-turned-politician who loves hosting family during the holidays. Not only a powerful physical presence, his voice booms in his respective scenes, carrying the crux of the character in its decibels. Although a bit more reserved than the other characters, Lyman still does get to indulge in dynamic moments, and Smithyman does a phenomenal job at honoring said indulgences, as well as metering his emotions otherwise.
Silda, Polly’s sister, is delightfully brought to life by Alison Carey. From her uproarious introduction to her more sentimental moments throughout the rest of the story, Carey’s performance establishes the nuance of a character that many others wouldn’t be able to realize. Her twisted humor helps make the arguing more palatable. Carey’s ability to balance being a casualty of the 60’s, to trusted authority figure, is a testament to her strengths as a performer.
Sam Thinnes is terrific as Trip, the youngest in the trio of siblings. Thinnes musters a mounting frustration that occasionally explodes in fits of vulgar profundity and threats to make an escape to the tropics. He charms when he’s being diplomatic and amuses when his aims are a little more self-centered.
Rounding out the cast is Terri Schultz as Polly Wyeth, the reformed matriarch. Once a rebellious screenwriter who embraced the counterculture, she ended up doing a 180 and becoming someone she used to stand against. Schultz is able to expertly convey the desperation Polly is plagued by to maintain a life of sense and order.
In addition to a talented cast, this production boasts a really gorgeous set. A culmination of effort from Duane Peters, Glen Bittner, Dennis Casey, Danyle Verzinskie, and Steve Kalina, the cozy desert dwelling functions as both location and character, as it transforms the stage. Extended “blackouts” are no issue at all, as sunlight is simulated creeping through the living room windows, creating a mesmerizing sight. Honestly, one should show up early just to sit in the seats and stare at the set. Forget intermission, surrender to Stendhal Syndrome!
Beyond the set, this production has plenty of opportunity to showcase a good deal of technical prowess. Another notable facet of this show is some of the props, particularly some “party favors” later on in the story. The music is also really enjoyable. Being set in 2002, the show features beloved throwbacks for those born in the 90’s or just a little earlier.
BLT has curated quite an unusual season so far and this show is no exception. For being a smaller theatre in a relatively smaller city/town, the decision to stage such a powerful show is a very admirable move. Theatre is meant to inspire and provoke, at least partly. It’s an indispensable medium/tool for figuring out the human experience and that can’t be done without producing shows that may make people uncomfortable here and there. Butler is slowly becoming recognized for being a hub for culture and artistry, and BLT is doing its part like it has been for so many years.
“Other Desert Cities” continues its run April 30th-May 4th at Butler Little Theatre in Butler, PA.
