A glowing back wall of shelves, lined with quart-sized glass jars full of assorted objects seems to set the mood for a curious, poetic, magical interpretation of “Indiana, Indiana,” adapted from a novel by DU Professor Laird Hunt, who teaches creative writing.
It plays through Oct. 3 at Buntport Theater, where Buntport’s clever ensemble is known for its often biting and funny take on various literary classics, but has not before worked with a living writer. The group of six writes together and develops ingenious staging within a limited budget.
The book begins: “In the center of the county in the center of Indiana in the heart of the country, down a long, dark hallway, Noah Summers, a simple man who has led a far from simple life, sits in front of a flickering fire, drifting in and out of sleep. On this dark and lovely night, he sifts through the shards of his memories trying to make sense of a lifetime of psychic visions and his family’s tumultuous life on an Indiana farmstead.” After a beginning like this, “Once upon a time” will not suffice anytime soon!
Focused on a character named Noah, the non-linear script pulls closely from Laird’s language as it floats through periods in the rural man’s life, especially before and after Opal, but not necessarily in chronological order. The love of Noah’s life was mentally ill and lived most of her life in a hospital after she set their home on fire. Her letters to Noah, mostly removed from reality but filled with lovely words and images, pop up frequently through the book and play, as it takes Noah from young, just-married man to an elderly man, looked after by his son, Max.
Laird Hunt generously gave the creative group permission to develop a theater piece, not knowing what would evolve. Evolve it has, into a spellbinding 90 minutes of theater.
Evan Weissman plays the part of Noah, aging with a mask and body language.
Hannah Duggan, who observed on opening weekend that the group felt really happy with the results, plays Noah’s Bible-quoting mother Ruby, as well as the young Opal and three other roles, making the switch effortlessly, it seems.
Erik Edborg plays the scholarly father Virgil, who quotes from the classics, while dealing with practicalities of running a farm. Edborg also plays Mr. Thompson and an itinerant saw player, who trades Noah music for tomatoes.
Noah, who has trouble with reading and writing, is a clairvoyant, who sees things no one else can. He helps the sheriff solve crimes and predicts happenings– which affects his perceptions of reality at times.
Brian Colonna, the fourth cast member, portrays Max, Noah’s son, born after Opal is hospitalized; the sheriff; postmaster and minister.
The other two company members collaborated in writing and handle the technical side of this show, although Erin Rollman usually is onstage with the others and SamAnTha Schmitz regularly deals with technical effects and business. Projection is more complex than usual with fires, weather and other special effects, and some props appear from above on cue when needed.
Hunt’s book is described by the company as “a beautiful and surreal tale of love and loss in America’s heartland.” It is for sale at the box office for those inspired to get acquainted with the author following the performance.
-Sonya Ellingboe, September 15, 2009, Highlands Ranch Herald