THE RUNNER STUMBLES – Written by Milan Stitt; Directed by Sina Hirsch. Produced by Elemental Theatre Company (Presented at the People’s Building, 9995 East Colfax, Aurora) through March 8. Tickets available at 720-244-6205 or ElementalTheatrecompany.org.
Playwright Stitt found an interesting real-life story that happened in 1907 in a very religious small community in Michigan. A priest and a nun’s relationship was misunderstood, which led to tragedy for both of them. She lost her life; he was accused of her murder and forced out of the village in disgrace. The true story only came out years later when he was arrested and charged. It’s an intriguing look at the morals of the time, the unforgiving nature of the disappointed, the need for companionship, and the impact of the discipline of the Church.
Elemental does a fine job of telling the story. The relatively new faces of Mark Caswell-Yee and Calista Rain Masters take on the difficult roles of Father Rivard and Sister Rita. Father Rivard is surprised and dismayed by his attraction to Sister Rita’s youth and charm. Sister Rita, on the other hand, seems oblivious to the effect she is having on everyone she meets in this small provincial village. She is too pretty to be a nun – and yet, there she is. Their relationship is innocent except in thought, but even that is overpowering.
They are supported with fine performances by Lisa Ann Collins as their disapproving housekeeper; John Greene (who you hardly ever see on stage anymore) as the gruff and determined prosecutor in Father Rivard’s trial; Jim Hayes as the Monsignor who cracks the whip and provides the straw that breaks the camel’s back; and Myrrh Curie Powers as Louise, a village girl with sausage curls. They all contribute their crucial, sometimes cruel parts to the story.
The People’s Building is an interesting place in which to stage and watch a play. You never know quite what you’re going to be walking into as you approach the playing area. It can be small and intimate or big and grandiose (think ANNE BONNEY and EXIT CHASED BY A BEAR as two examples of big). The playing area is approximately 1,500 square feet, and they do not rent by the square foot. You rent it; you’ve got the whole thing. More than once or twice, I’ve seen productions here that would have been greatly enhanced by using more of the space for their set.
This play, too, could have been made easier on everyone by using a little more of the space. The play is acted out in basically two settings: the Priest’s study and the courtroom. Once and awhile, an outdoor setting was used. There’s enough space that those could have been three separate spaces set up and prepared for the actors to move into as the scene changed. The lighting could have told us where to look. The actors would have been spared the chore of moving everything off and on and off again between each scene. Those set-up delays broke the pacing of the story, created what became almost comical movement of tables and chairs by the cast, and made the play at least a half hour longer than it should have been. If there’s ever any way to avoid making the actors into temporary stagehands, I applaud the company for figuring it out.
Only one more weekend to catch this production.
A WOW factor of 8!