DYLAN at The Classics Theatre Project
Dylan, a 1964 play written by Sidney Michaels, follows the life of the brilliant yet deeply flawed Welsh poet Dylan Thomas, whose addictions to alcohol and women become his means of escaping the pressures of life, where he identifies as a black sheep. This season extra from The Classics Theatre Project, directed by Jason Craig West and performed at The Core Theatre in Richardson, takes us on a rollercoaster of emotions and grants great freedom to our imagination as we accompany Dylan through the final years of his life.
The introduction of Dylan (Joey Folsom) and Caitlyn (Rhonda Sue Rose) and their interaction clearly show that they are a couple who, although they may be in love, are hurting each other. This is evident through their words and the never-ending cycle of distancing themselves and then displaying moments of passion and care. In the first scene, I appreciate the work put into the diction and melody of the text by Joey Folsom and Rhonda Sue Rose. However, the corporeality and fluidity of every action that Dylan performs make it clear that Folsom views his character’s movements not as choreography but as a way of materializing Dylan’s train of thought. Watching Folsom feels like a lesson in action and reaction, connecting with your character, and telling a story through silence. As an artist, it inspires you to improve. As a theater enthusiast, you feel comfortable enveloping yourself in this fantasy.
The teamwork, connection, and support among the members of this cast are evident. We need only watch them transform each space between scenes to prove this. Even though sometimes the transitions take enough time for the audience's energy to drop, the cast ensures to lift it back up by building the scene together through their interaction with the space, to the extent that the projections on the walls become almost unnecessary for understanding where they’re taking us. In this aspect, the cast allows us to use our imagination freely and dream with them. Although the relationship between the cast and the spaces clearly indicates where we are, the creativity of West's scenic design, combined with the beautiful projections by Alex Magee, the cozy lighting by Louis Shopen, the dynamic sound design by Cameron Potts, and the meticulously crafted props by Arianna Cinello and Folsom, brings even more power and credibility to the scene.
The overall sensation of the actions in this play is comparable to the feeling of trying to hit a piñata while your uncle pulls it away from you: sometimes we succeed, and sometimes we feel let down. Trusting the intentionality behind this emotional flow that keeps the audience focused on every detail, we must credit the direction of Jason Craig West. On one hand, we feel appreciated as audience members when we see the actors preparing their food and actually eating it, drinking beverages and not pretending to swallow, undressing as their characters would, or even making sure that their undershirts are not on backward. In these moments, we witness the actors’ varying comfort levels and how they use that sensation in their performances. As audience members, we believe in this fantasy because the actors also believe in it. However, we are jolted back to reality when we see a waiter spilling liquid all over a table and, despite having a cloth in his back pocket, neither he nor the customers acknowledge the mishap; when a woman pretends to wipe nonexistent tears; when a lack of body control raises concerns about an actor’s safety; when a person searches for something on the floor and, even if they find it, pretends otherwise; or when characters move across the stage just to deliver a line and then return, without any other action occurring. We lose the sense of fantasy because we can clearly see how choreographed and memorized these moments are. If the actors do not believe in these actions, we, too, are deprived of the opportunity to engage with the performance fully.
Regarding the interactions between the characters, we thoroughly enjoy every scene featuring Dylan (Folsom) and John (Andrew Manning). It’s clear that Folsom and Manning are having a great time on stage, and their deep understanding of their characters allows us to overlook the sexist jokes because they are clearly contextualized. These scenes are so dynamic and filled with chemistry that we begin to feel that Dylan’s closest confidant is John, not his wife or any of his lovers. Even Dylan’s most vulnerable moment, the baa baa black sheep analogy, is shared with John. This scene is pivotal in helping us empathize with the protagonist and gives us a glimpse into his brilliant mind. It helps us understand why he feels so pressured and why he seeks to escape through his various addictions. This feeling of concern for Dylan’s life situation that we experience throughout the play could have left us with a pessimistic outlook if it weren’t for the joy that Madyson Manning brought to life through her characters. It was a relief to witness such playful and charismatic energy in the midst of the storm.
There’s nothing more appealing to an audience than recognizing the subtle details happening on stage. From the hole in Dylan’s sweater to the matching color of Caitlyn’s and Meg’s dresses, we can see how even the wardrobe helps tell the story of these characters. In line with this attention to detail, we might question why, in Act 1, Caitlyn frequently comments on Dylan’s financial irresponsibility when he is seen wearing the same outfit throughout, while she appears in a new outfit in every scene. Overall, the costumes added personality to the characters, subtly telling little stories about each one. Knowing that the cast designed the costumes under Folsom's direction further demonstrates their attention to detail, reflecting a deep respect for the audience.
In Act 2, the construction of the spaces was a delight. Despite the distracting creaking of the platform backstage during the party scene, every other scene reminded us why we fell in love with theater in the first place. The conversation with the doctor and the voices in Dylan’s head exemplify this perfectly. In these moments, not even lighting changes were necessary for us to understand what was happening on stage. Another remarkable example of the theatrical magic that West’s direction presents to the audience is the Christmas scene, where the play transitions so seamlessly from one place to another that we feel as though we’re dancing to the beat of their drum. The scene ended so beautifully that everything from that point on felt superfluous.
This play is a place where we, as audience members, can truly let our imaginations roam and revel in the magic of theater.
RUNNING: Through October 5th, 2024
VENUE: The Core Theatre, 518 W Arapaho Rd, Richardson, TX 75080