Five reasons why you should see Playground’s dark ‘Feast’
Perfectly timed to usher in Halloween, the local premiere of Cory Finley’s 2015 dark comedic thriller “The Feast” launches millennial-driven Playground Theatre’s fourth season beginning Thursday, Oct. 25 in the PNC Arts Annex.
Co-directed by Playground founders Jenna Valyn and Christopher Hahn, the play concerns the ghastly and strange sounds inhabiting the sewer under Matt and Anna’s apartment. Getting to the root of what is real fuels the script’s mystery and inherent secrecy. Here are five reasons why you should catch this eerie show produced by one of the most exciting, forward-thinking troupes in town.
A FASCINATING TALE OF FEAR AND THE MIND
According to Valyn, the unexplainably perplexing sounds Matt hears lead him to seriously question his relationships and conversations. In fact, the play supplies a unique look at mental illness and fear.
“How this play presents mental illness is unlike anything I’ve seen on stage,” she said. “It is more along the lines of what I’ve seen in horror films such as ‘The Babadook.’ This play is very much about what ‘the monster,’ mental illness, represents to an individual person. How mental illness and personal struggles manifests in someone’s life. When you’re a child, you’re afraid of the monsters in your closet or under your bed, but when you’re an adult those demons sort of morph into inner demons and this play blends those worlds together, which is what I love about it the most.”
“You don’t find many horror-themed plays that feel genuinely frightening,” echoed A.J. Breslin, who plays Matt and was seen last season in Playground’s “Tape” and “The Tutors.” “There are (frightening) moments in ‘Woman in Black’ or ‘Wait Until Dark,’ but not many plays actually take advantage of how you can use theater to scare an audience.”
Muse Machine alum Phillip Drennen, a Playground newcomer notably seen last season as Michael in Dare to Defy Productions’ “Tick, Tick … Boom!,” adds to Matt’s anxieties in multiple roles including his therapist. “I represent different versions of people in Matt’s life,” he said. “Every time the audience sees me they’ll see different versions of Matt, particularly how he acts out in society, how he acts in his home with a stranger or with a colleague he’s known for years.”
ANOTHER EXAMPLE OF WHAT THE PLAYGROUND DOES BEST
Valyn and Hahn anticipate varied reactions to “The Feast,” but steadfastly believe the play represents the Playground’s mission to stage works reflecting humanity at its ugliest or most complex.
“It’s sad to watch Matt go through his journey but there is still a feeling of absurdity which makes it funny,” Hahn said. “I’m actually interested in finding out when the audience will laugh.”
“It will be very interesting to see whether the audience will accept the show as a horror or a dark comedy,” added Rae Buchanan, who plays Anna and was seen opposite Breslin and Hahn in “Tape.”
“We’re always looking for realistic, human stories of struggle we’ve all dealt in some way,” Valyn said. “We want our shows to be entertaining, we want to make people laugh, but we also want people to feel, connect and see themselves in the characters. We want to create a universal experience.”
ENTICING, UNSETTLING MUSIC
Setting the proper mood is a key component to Playground’s pedigree. Spotify playlists have been the norm, but in a first for the troupe, original music will be heard. Skyler McNeely, marvelous last season as sensitive Toby in “The Tutors,” has composed an intriguing soundscape.
“The scope and tone are pretty eclectic,” he said. “There will be Gothic tones, some atonal noise and textures, and even some slight nods to classic 1980s horror we all know and love. I’m (combining) all (these elements) together into what I hope will be a very immersive and sonic experience for the audience. The score (also) acts like a sort of Greek chorus that follows Matt’s emotional, mental and physical state. We wanted the music to emulate what he is experiencing whether sadness, mania or even complete awe. But underneath it all is this deep fear and terror that builds throughout the show.”
ARTWORK AUCTION
In this one-act play, Matt is a painter. Fittingly, the Playground has assembled a group of local artists to provide original artwork. “Our plan is to run a silent auction during performances where patrons can bid on pieces of art,” Valyn said. “The hope is that any money raised will go to a charity that supports mental health.”
NEW PLAY, NEW SPACE
Playground, formerly housed in the Mathile Theatre of the Schuster Center, has the auspicious privilege of opening the Victoria Theatre Association’s PNC Arts Annex, a venue devoted to programming and arts education for all ages and cultures. Due to ongoing construction, patrons should expect a “soft opening,” but Valyn and Hahn are eager and grateful to begin a new chapter in a new space.
“It’s such an honor for us to be the first company to be in the Arts Annex,” Valyn said. “Normally when you perform at local theaters you’re standing in a space where so many amazing things have happened and you’re feeling that energy. But we’re in a brand new space, there’s no other energy, so we’re literally creating that energy.” By Russell Florence Jr.
Dayton native and Atlantabased writer/author/musicologist Quentin Harrison, a 2003 Stivers School for the Arts graduate, has released his fourth book in a 14-part series titled “Record Redux,” documenting the discographies of female musicians. His latest incarnation spotlights the provocative yet influential career of Grammy and Golden Globe winner Madonna, who celebrated her 60th birthday this past August.
Known for hits such as “Like a Virgin,” “Like a Prayer,” “Vogue” and “Music” to name only a few, Madonna has cemented her legacy in pop culture and music history by selling over 300 million records worldwide and being heralded the highestgrossing solo touring artist of all time. Controversy has followed her since the moment she descended a giant wedding cake at the 1984 MTV Video Music Awards, but Harrison feels her journey is so much more than mere moments.
“Madonna has always been a very determined woman,” he said. “She’s very strong and also a quick study who learns very fast. She’s also been open to collaborating and respects the creative process. I think all of this comes through in most of her work. The last few years of her career have been difficult for her because she stepped outside of what I’ve just discussed, but even in those difficult spots you still get a sense of her (skill) in the last few records she’s done and especially in a live context. I don’t think she has anything more to prove because she has set the standard. There’s enough room for Madonna and all her peers, predecessors and followers. There’s only ever going to be one Madonna. I hope when people read the book they’ll realize her body of work speaks for itself. She could stop tomorrow and still be considered the Queen of Pop.”
While as a staff contributor for culture and entertainment site Blogcritics.org, Harrison’s feature “Retromodern” notably focused on past recordings that may have fallen through the cracks commercially but warranted a second hearing and renewed appreciation. He’s also a part of Albumism.com as a recurring guest reviewer, interviewing such artists as Jody Watley, Lisa Loeb and Melanie C. He particularly began his professional writing career as a music columnist for Dayton City Paper, which recently closed. He remains proud of the fact that DCP provided a strong, diverse training ground for budding writers.
“As one of only three African-Americans at the DCP, and being the youngest of those three, I really felt I was given a chance to bring a black voice to that paper,” he said. “It’s important that anyone in the community can pick up a paper like that and see themselves, their interests and culture reflected within. I had a lot of creative freedom, topically speaking, from the outset which is rare. It helped me appreciate (knowing) that (sense of freedom) would not always be the case in other writing endeavors at other points in my career. In relation to what I took away from my overall DCP experience, it was to always remain true to your inner voice, but also to find a way to get that voice to a wider audience without losing its integrity.”
On Friday, Oct. 26, Harrison will return to Stivers to discuss his new book and his writing experiences with students. Encouraged and nurtured by Eva Makstutis, former Stivers creative writing director, he looks back on his time at Stivers with great fondness.
“Eva Makstutis, and my overall time in the Stivers creative writing program, taught me to engage with a host of different writing mediums,” he said. “Being given that encouragement to try different styles and to see what fit and what did not really helped me learn what was for me and what wasn’t as a writer. Further, it also taught me to appreciate other mediums and the writers that work within in them.”
“I invited Quentin to Stivers through my adjunct instructor Eva Makstutis,” added Leslie Rogers, Stivers creative writing director. “The purpose of his visit is to give students an idea of how they can apply the skills they learn in their years as creative writing students to their careers. I believe that all of us, as students of any field, sometimes have a hard time envisioning how it can be applied to the outside world. Visits from past students such as Quentin is one way in which we hope to give students that real-world perspective of creative writing.”
Harrison is grateful for the opportunity to reflect on his career and be a testament to the power of determination and producing creative labors of love. He is excited to offer words of advice for the next generation of writers with Dayton roots.
“It is important to hone your craft,” he reminded. “Learn what you do inside and out and it also helps to love (what you do) as well. (It’s important to) never take your gifts for granted as well.”
“Record Redux: Madonna” is available through Amazon.com in soft-cover format ($27.50). A digital download for any tablet device is offered through the Selz storefront ($13.50; Quentinharrison.selz.com). The book was manufactured by CreateSpace via Harrison’s Joy of Sound Publications imprint. For more information, visit www.facebook.com/recordreduxseries, e-mail recordreduxbooks@outlook.com or follow Harrison on twitter at @The QHBlend.