By: Joseph Szalinski
Long before Lil’ Wayne wheezed his way into the hearts of many millennials, Americans were enamored with another poet who scribbled beloved verse, beefed with his contemporaries, and guzzled opiate-based syrups: David Allan Coe. I mean, Edgar Allan Poe. Unfortunately, unlike the rapper, the latter did not see much money during his lifetime, young or old. It’s in these dire financial straits that the audience finds Poe, drinking and gambling with a fussy fan, in Hobnob Theatre Company’s latest production, Edgar Allan Poe—Tales of the Grotesque, directed by Justin Anderson, now running at Hobnob Studio Theatre in Butler, PA.
Named in reference to a short story collection published in 1840, Tales of the Grotesque and Arabesque, Erick W. Cook’s script weaves together a tense narrative, three short stories (The Masque of the Red Death, The Fall of the House of Usher, and The Tell-Tale Heart), and “The Raven.” Performed initially 11 years ago, Hobnob once again helms this tribute to the misfortunate master of the macabre. This time around, Justin Anderson forgoes the titular role in favor of directing the show. He does a marvelous job infusing every decision with purpose, making every scene visually striking, like an oval portrait.
An army of amazing actors assists Anderson in his endeavor. Kevin Vespaziani mystifies as Edgar Allan Poe, the “Angel of the Odd,” aka “The OG Superspreader.” Despite having liquor in his blood, Poe is dispirited, namely over his prospects as a writer. He’s struggling to make ends meet from his stories, poems, or criticism. Wait. People get paid for this?! Vespaziani beautifully embodies the distraught genius of Edgar Allan Poe, most stunningly with his recitation of “The Raven.” Not the screenplay for the John Cusack movie, but the poem. Everything —from his striking resemblance to his accent to his hypnotic hand gestures —demonstrates his prowess. Even when relaying his philosophy of composition between each story, he makes Poe engrossing. Vespaziani must be an orangutan with how he kills his role.
Mr. Toller, the Mark David Chapman of this story, is masterfully brought to life by Daniel Williams. Crossing Poe’s path like a proverbial black cat, he assumes his position as a sinister sherpa into this descent into the maelstrom, accompanying the woeful writer until Poe has his eureka moment. Through imposing physicality and terrifying laughter, Williams dissolves into his role.
Sam Thinnes delivers a trio of chilling performances as The Masque of the Red Death, Roderick Usher, and the Young Man, respectively. First, he channels his inner Lon Chaney as he wordlessly haunts the stage. In his second appearance, he plays the world’s weirdest slumber party host with a fading charm that’s equally disturbing as it is delightful. But it’s as the Young Man in The Tell-Tale Heart that he really shines. One can’t look away from his descent into madness, which culminates in an incredibly physical display.
Molly Miller is great as Alabama, errr, Viriginia Clemm Poe, Edgar’s much younger cousin-bride. Fated to succumb to consumption like all of Poe’s loved ones, Miller’s heart-wrenching portrayal cuts like a pendulum in an inquisitor’s dungeon. Complementing her is Elizabeth Smith as Mrs. Clemm, Edgar’s aunt. With dialogue informed by actual correspondence between the family members, Smith’s performance is exceptionally vulnerable.
Cory J. Pfahl juggles his four roles with elegant ease. While his turn as Ralph only gives a glimpse of his potential, his other characters allow him to show off his skills, especially Ainsworth, Roderick Usher’s college buddy. Likewise, Logan S. Andres has her standout role in the same story as Madeline Usher, as does John Henry Steelman as the Doctor. Jeff Myers and Gail Suhr expertly round out the cast, playing a handful of parts between themselves.
Technical elements elevate this production into the realm of cinema. Sets are minimal yet effective, even if they don’t abide by Poe’s “Philosophy of Furniture,” JD Vance’s favorite erotic essay. Aside from a table and a few seats that are recycled throughout the tales, the stage is left open to allow the performers more space to dazzle the audience. Anthony Closkey holds down the fort as a stagehand, effortlessly enabling the show to move at its engaging pace. Sound design, by producer Ken Smith, adds terrifying texture to an already rich world. Elizabeth Smith, who performs double-duty as the production’s costumer, provides her castmates with stunning wardrobes. These outfits even rival the threads sported by the fuzzy background extras with fuzzier faces in The Pale Blue Eye. Let me tell you, being forced to have mutton chops for months is a lot scarier than anything Poe could conceive.
Hobnob Studio Theatre is a wonderfully intimate space. While everything they produce is fantastic, this show really makes use of the “immersive proximity” of the stage and seats, plunging audiences into Poe’s distorted reality. To further complement the atmosphere, Tannin and Tonic, a bar a few doors down, has beverages in the lobby. Their Amontillado wine is to die for!
Hobnob Theatre Company has graced the theatre scene in Butler for over a decade. In that time, they’ve staged plenty of tremendous productions, cultivated quite a following, and, as of 2024, have their own space to realize their artistic ambitions. Whether they’re indulging in more traditional theatre or unorthodox events like children’s programming or improv comedy nights, they’re bound to have something for everyone. Interested in fostering an appreciation and passion for the performing arts, Hobnob is an asset to Butler, as well as an indispensable addition to the theatre scene in the Greater Pittsburgh Area.
-JS
Edgar Allan Poe—Tales of the Grotesque continues its sold-out run October 30th, November 1st, and November 2nd at 7:30 PM at Hobnob Studio Theatre in Butler, PA. For more information on shows at the Hobnob space, click here.
