By Joseph Szalinski
Growing up, I always wanted to be a superhero like Batman or Spider-Man. All these years later, the only thing I checked off the list was similar trauma. Donning a mask and fighting for justice was simply a pipe dream of childhood, and, admittedly, four-ish years ago. Much like superheroes and Constantinople, justice doesn’t exist in this world. And while I’m too dumb to be a supervillain (I was not a STEM student, obviously), I think I could convince some people to lace up a pair of Nike Decades. It’s at this unsettling intersection that we become immersed in the world of the latest production from The Rage of the Stage Players and writer/director/producer James Michael Shoberg, “Mor Dred,” now running at the Margaret Partee Performing Arts Center in Bellevue, PA.
Taking inspiration from both comic books and Arthurian Legend, this show acknowledges said inspirations but blends them with plenty of originality to create something truly unique. Well researched and full of Easter Eggs that would evade even the most ardent literary scholars and historians, James Michael Shoberg combines drama, tragedy, and heaps of humor to craft a tale that takes somewhat familiar characters on a wild and wordy journey through the darkest recesses of our world. Throughout the story, many powerful themes like vigilantism, the role of police, good vs. evil, and so on, are brought up and handled with seasoned consideration. His phenomenal writing is best realized with him at the helm, which is why he serves as director and producer, not to mention a few other duties. Knowing the script inside and out, over the course of all of its permutations, lends itself to him eliciting the best possible performances out of the actors involved.
Powerful performances populate this production. Boasting a smaller-than-usual cast size for a Rage show, “Mor Dred” offers the actors involved more of an opportunity to showcase their talents and their respective characters, especially with a handful of characters existing solely on video.
Luke Frederick delivers a truly mesmerizing performance as the man himself, Mordred. Just like infamous Beach Boys fanatic, Charles Manson, Mordred doesn’t need to actually carry out any deeds. He simply inspires chaos…and people to scrawl misspellings in blood on walls. Frederick appears to be superpowered himself, tapping his unmatched energy to display his fine-tuned prowess.
Arcturus aka Arthur Pendragon is played by Hozier…er, I mean, Cameron Webb, who also handles the intimacy choreography. He masterfully balances Arthur’s two lives/personalities like he’s the one with an actual secret identity. It’s as Arthur he really steps into his role, bringing a nuanced realism to the splintered psyche of a powerful person.
Anthony Babeaux is beautifully pathetic as Agravain, Mordred’s desperate acolyte. His slimy physicality mixed with outrageous dialogue allows him to shine, albeit through the dirt and grime he’s collected from his days as a street urchin.
Gwen Grant, the Lady Guinevere of Rage’s world, is brought to life by Sophia Clegg. Conflicted as soon as she’s introduced, Clegg helps Gwen to be seen as a complex character whose true self is camouflaged by the various masks she wears in an attempt to enjoy the spoils of her deceit.
Bill Herring delights and disgusts as Dr. Ambrose Merlin, Arthur’s father figure and most trusted ally amongst the city’s elite. Simultaneously conniving and charming, Merlin’s magic comes from Herring’s ability to wield those two attributes so well. Monologues that would lose steam delivered by most other performers are made engrossing thanks to him.
Weapons master Justin Havens gives a solid performance as the physically imposing and morally compromised Officer Lance Dulac, Arthur’s best friend and biggest critic of Arcturus. His biggest strength, aside from brute force, is his ability to convey so much nonverbally.
Lindsay Glover is absolutely intense as Morgan Cornwall/Morgan Le Fay. Despite showing up a little later than some of the other characters, Glover quickly makes up for it with a malevolent magnetism that could sway the most principled do-gooders.
Mayor Stone oozes into existence with greasy ease thanks to the awesome Kevin Mahler. Playing such a repugnant individual isn’t for the faint of heart. Luckily for audiences, Mahler fully embraces the character, committing to his pitiful and occasionally physical antics.
The newscasters and disembodied voices are a nice addition to the regular cast, as they help to develop and flesh out the world a bit more. Not only do reporters like Chrétien Troyes (Joseph Stammerjohn) and Malory Thomas (Carrie L. Shoberg) serve as bookends to the story, but also as creative exposition. Andrew Lasswell, aside from his contributions to film segments, sound design, and original score, is fantastic as Geoffrey “The Mouth” Monmouth, a ranting and raving nutcase with a catchphrase to make him one of the most unforgettable parts of the show.
Technical aspects are phenomenal. Being that they are such an integral element of the show, it puts a lot of extra pressure on the crew to make sure that everything is as it should be. Everything, from the lights and sound to the program, is astounding, especially given the congested time frame it was all accomplished in.
Multimedia is at the heart of this production, not just in influence, but in its execution as well. Screens are most notably used to run the news segments but are eventually employed to display comic book panels that elevate and enhance the story. Not to be limited by the trappings of an ordinary piece of theatre, “Mor Dred” is replete with plenty of techno-wizardry to set it apart from anything seen before.
Costumes and props, along with prosthetics by Eric Valko, are absolutely marvelous in this show. Masterminded by Carrie L. Shoberg, with assistance from Brittany Spinelli, these elements are a terrific complement to Shoberg’s and Spinelli’s set decoration, from a set designed by Robert Hockenberry and constructed by Justin Havens, Bill Herring, and production manager Jen James, all tied together by scenic artist Rachel Roach.
Margaret Partee Performing Arts Center is a wonderful venue and such an asset to the community, and to Pittsburgh’s theatre scene as a whole. While it primarily serves The Pittsburgh Savoyards as their home base, allowing other companies/productions and even artists working in other mediums, like comedy or spoken-word or music, can really benefit it continuing to be a staple of Bellevue. Its existence is testament to the fact that smaller places can host big stories.
The Rage of the Stage Players are a collective of unorthodox artists who passionately strive to bring boundary-pushing productions to stages around Pittsburgh, and beyond. Curated over the course of a multitude of productions, this Ship of Theseus-style outfit is full of talented and driven folks who manage to put on some of the most interesting and original shows ever conceived. It’s absolutely incredible that this nomadic ensemble is able to stage such productions without a permanent venue of their own—a perfect example of how dedicated artists can still create great shows. They are instrumental in keeping Pittsburgh theatre weird and entertaining, and we hope that’s the case for a long time to come.
-JS
“Mor Dred” continues its runs until August 16th at the Margaret Partee Performing Arts Center in Bellevue, PA. For more information, click here.
