By Michael Buzzelli
A police Dispatcher (Treasure Treasure), known only as the Operator, summons police officers to a remote, modest home in an unknown neighborhood in Liza Birkenmeier’s “radio island.” Then, the play moves backward from the conclusion to the inciting incident.
Ellen, a hostage negotiator (Siovhan Christensen), returns home to take care of her mother, Paula (Helena Ruoti), after her mom suffers an accident and is temporarily confined to a wheelchair.
The Sheriff (Wali Jamal) is convinced that Paula’s accident is more than it seems, as the neighbors have reported a mysterious car lurking on Paula’s property. The neighbors even reported the sounds of a gunshot to the police. Ellen delves into the mystery. She suspects her estranged father is the culprit.
Meanwhile, Ellen takes a job. An Oil Man (Brett Kennedy, in voice-over) has a tanker that Somali pirates have taken over, and the alleged pirates are demanding a ransom. Ellen reaches out to the Contact Man (Jamal, again, in voice-over) on the boat and tries to cut a deal.
Knowing Ellen will be in her hometown for a while, Rory (Melinda Nanovsky) shows up to help, but she’s more of a hindrance than help as Ellen takes on a handful of stressful situations; hostage negotiation seems less difficult than dealing with her mother and her lover.
A few humorous moments punctuate the dire events of “radio island,” mostly from Jamal and the Reverend (Kennedy in a dual role). The play, however, is a savage and violent treatise on our inability to connect in meaningful ways.
Christensen is sublime. She funnels rage, anger, and grief through a tightly filtered character who seems stoic and reserved. She appears unemotional, but the character’s depths are all there. In reality, Ellen is deeply caring. Her concern for the Contact Man’s fate deepens her multi-leveled characterization.
Ruoti, who was brought in after another actor had to walk away from the project, steps up in a big way. On opening night, Ruoti carried her script around, but it was hardly noticeable. Ruoti dives deep into Paula’s complex character, a woman fighting to keep grief and despair from ruling her final days.
Jamal is distinct in each of his varied roles. As Sheriff, he is affable and pleasant, but nervous around Ellen, who is a much better detective than he is. It’s odd that his Contact Man, a terrorist holding an oil tanker hostage, is the most human character in the play.
Kennedy does a fine job as the Reverend. Still, his Oil Man is a delightfully wicked character, an ornery Southern gentleman corrupted by avarice, and spewing swear words in every sentence.
Nanovsky does a fine job, but she doesn’t get a lot to do. She’s a Vicki Vale. A Gwen Stacy. She is treated like every cop’s girlfriend in every movie you’ve ever seen. She’s around to remind the audience that the situation is dangerous, the voice of reason in a cacophonous sea, surrounded by Bad Idea Bears.
Side note: This shouldn’t matter, but it does. Nanovsky towers over Christensen. The height difference adds a lopsidedness to the relationship. Ellen, meant to be intimidating, self-assured, and commanding, looks tiny next to her statuesque partner. The size oddly affects the dynamic. She is a terrific actor, and I hope Nanovsky returns to Pittsburgh in a role more suited for her.
Treasure, however, takes a monotone character and makes it their own. The narration goes from police jargon to poetry. It’s a captivating performance, despite having a chance to interact with the other characters in the play.
Director Katie Brook keeps the action tense, filled with a visceral, palpable uneasiness. It never lets up (forgoing an intermission keeps things in that heightened state).
“radio island” is intentional about the way the seats are all obstructed. Everyone gets a partial view of the proceedings. It is disorienting on purpose. Brook uses the German term, Das Unheimliche (or “unhomey”). She wants you to be uncomfortable. The play is a jagged jigsaw puzzle, and the audience is only given key pieces. However, it’s frustrating when theater-goers pay full ticket prices and get obscured views of the actors.
Scenic Designer Chelsea M. Warren does a fantastic job creating this show’s jigsaw puzzle pieces: a partial kitchen, a hint of a bedroom, and an eerie row of trees representing the forest. Stuart Blackwood’s sound design and C. Todd Brown’s lighting design complement the creepy vibe Warren has dressed.
If you’re geared up for some spooky-season weirdness, “radio island” will take you down a dark, winding path.
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“radio island” runs Tuesday-Sunday, October 23- November 15, 2026, and is indoors at Rockwell Park, 7514 Thomas Blvd., North Point Breeze. For tickets and information, click here.
