By Rikki Lee Travolta
There are any number of words that could be used to describe the play “Inanimate” by Nick Robideau now playing in the Midwest premiere at Theater Wit under the direction of the company’s artistic director Jeremy Wechsler.
Abstract, alternative, and experimental are natural word choices to describe the play. Entertaining, inventive, creative, and high quality are additional terms that fit the bill.
“Inanimate” is the story of a young woman who has fallen in love. It just so happens that she has not fallen for a friend, acquaintance, or co-worker. In fact, Erica hasn’t fallen in love with a person at all. As the title of the play suggests, Erica is in love with an inanimate object – the sign at the local Dairy Queen.
The 90-minute play, told in one shot without intermission in the comfort of Theater Wit, is billed as “the best – and only – objectum-sexual romance of the year.” The New York Times calls the play a “likeable comedy”, however, the comedy comes in prescribed doses, allowing the actors to also explore some serious dramatic moments.
J.G. Smith plays Erica, who at the age of 30 suddenly finds herself in love. It just happens to be with the local Dairy Queen sign. It is a premise that is on the one hand highly absurd, and on the other hand not too far from where changing social norms could evolve.
As long as it doesn’t hurt anyone, what’s the harm in being in love with an inanimate object? And, if you apply that same logic, there’s no harm in two people being in love no matter how they identify.
In the story, Erica is overwhelmed with affection for “Dee” – what she lovingly calls the Dairy Queen sign. She knows it’s out of the norm. She knows her sister who watches over her will never understand. Yet, there is a yearning to honor her emotions. They may be directed in an unconventional way, but they are real, valid emotions.
Erica’s co-worker Kevin is also turning 30. He has been working at the small-town Dairy Queen since he was 17 years old and for the past decade and a half, he’s harbored a crush on Erica. Attracted to both sexes, but depressed over his station in life as he hits his milestone birthday, Kevin questions his place in the world.
Meanwhile, Erica’s sister, who provides a parental influence in the absence of their deceased mother, turns up the pressure on getting Erica to date available men, even if they aren’t her idea of Prince Charming. Could one of those options be Kevin? How much should Erica try to force herself to present outwardly like an average, everyday, socially acceptable heterosexual girl in search of a boyfriend?
J.G. Smith does an excellent job presenting the alternative thinking and resultant confusion of Erica. You truly sense her frustration over not being able to control her own emotions.
There is a push and pull to the role, and Smith rides every wave with precision control. We see that Erica is tearing from being pulled in so many ways. For some people fitting into society takes more work – in some cases a lot more work.
Putting on a socially acceptable front and the work it involves is not foreign to me. As someone who lives with a disability, I can attest that what goes on behind the curtain to present as “normal” for any length of time can be beyond taxing.
From the perspective of the outside world, efforts to present as normal are sometimes convincing; sometimes they are not. And sometimes it’s just not possible. Smith captures all of that in her performance.
William Anthony Sebastian Rose II is wonderful as Erica’s potential love interest Kevin. He shows real depth of emotion, but always brings things full circle to capture the opportunities for humor. It is a powerful and thoroughly dynamic performance.
Rose is the kind of actor who disappears into the role. His Kevin is nervous and geeky. He’s 30 years old working in a service job in a small town, and he’s not even the manager. He looks back with heartbreaking regret at failed opportunities.
Rose has developed a highly convincing character. There is not one instance where he is on stage and not the full embodiment of Kevin – his thoughts, his mannerisms, his way of walking, and his style of talking, Rose masterfully succeeds in demonstrating multiple levels to his character.
While it is an unconventional love story, “Inanimate” shows a lot of heart. And in the end, it will leave you connected to the characters with a warmth inside.
Erica’s mother-like sister Trish is well played by Jodi Gage. She presents a strong personality that is also capable of showing deep concern for Erica. She is motherly with motherly concerns, yet runs into the boundary line that she isn’t her mother.
Like the other players, Gage has developed wonderful levels to her character. Clearly, director Jeremy Wechsler knows how to push his actors to really develop their characters.
As presented by Gage, and with thanks to costume designer Mara Blumenfeld, Trish is also a businesswoman. Being motherly to her sister is only a recent development and one that she has to balance with a career.
Blumenfeld does a great job of using costumes to influence the audience’s experience subtly. The attire for the human form of the inanimate objects Erica is romantically attracted to is genius.
Aaron Latterell plays the human embodiment of the Dairy Queen sign. His striking good looks are just what the part requires and his talent for delivering a punchline is divine. Khloe Janel also makes a memorable appearance as the human manifestation of another neighboring sign.
In addition, Janel is part of a three-person Greek chorus that appears sporadically in various personas – some surreal and others grounded. The chorus also includes Erin Long and Dustin Valenta.
Long’s use of not-so-subtle sexual innuendo and corresponding body language is enough to turn up the heat for a whole city block. Valenta displays a good deal of actor dexterity in the diversity of characters he takes on.
Thanks to scenic designer Joe Johnson, the players couldn’t wish for a better set from which to tell their tale. It includes a very realistic, older Dairy Queen façade, complete with a picnic bench, a sign pole reaching up into the sky, and an advertisement for Dilly Bars.
I did like what lighting designer Levi Wilkins added to the story. With intensities of different colors, lights are used as an effective accent to the action. They also serve to define different areas of the stage in the absence of actual walls. Also of note is the fine work of sound designer and composer Joe Court and properties designer AnnaMae Durham.
In today’s age, a lot of theatre productions will have an intimacy designer on the staff even when there may not be much obvious need for them. It’s better to be safe than sorry.
In “Inanimate” intimacy designer Kira Nutter does a standout job. Their choreography of the intimate moments is realistic without putting the performers in an unnecessarily uncomfortable position. The level of Kira Nutter’s work is what all intimacy designers should aspire to achieve.
The script for “Inanimate” is odd and quirky, but very entertaining. The incredible cast at Theater Wit ensures that it is thoroughly enjoyable.
The quality of the actors in this production is impressive. It’s only fitting to recognize casting director Catherine Miller for finding such wonderful pieces to match together. Also of note, understudies for the show are Lexi Alioto, Kevin Aoussou, and Nick Pardo.
Theater Wit is located at 1229 W. Belmont Avenue in the Belmont Theatre District in Chicago’s Lakeview neighborhood.
“Inanimate” plays on Thursdays, Fridays, and Saturdays at 7 PM, and Sundays at 2 PM. It runs through May 4.
For tickets visit www.TheaterWit.org or call (773) 975-8150.
Photo Credit: Charles Osgood
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