WHITE – Written by James Ijames; Directed by Julie Kaye Wolf. Produced by Firehouse Theatre Company (Presented at the John Hand Theatre, 7653 East 1st Place, Denver) through May 3rd. Tickets available at 303-562-3232 or Firehousetheatercompany.com.
If you go into this experience with the mindset that it is basically a Frankenstein story, it may help you understand what happens. In most plays or movies that use creation, novelty, and rebellion as a storyline, you’ll begin to see similarities. Remember EDWARD SCISSORHANDS, BAT BOY, POOR THING, even ROCKY HORROR. There’s an introduction to the creator, then we watch the creation, the initial acceptance, and eventually the rejection of what the “creature” has become. With the query of which of the duo is actually the monster.
James Ijames has tapped into this fascination with the somewhat macabre with his script for WHITE. We meet two fairly normal people with fairly normal goals in life . . . to have their art recognized and to be seen. The creators. The two work together to create a new personality for one – they create the “creature.” At first, it’s fun, feisty, a joint project that pleases them both. But then the creation begins to resent the demands and continued restraints of the “master” and turns on him. Leading to confrontations and open rebellion that leads to . . . . . but that would be giving it away, wouldn’t it??
I have to confess that a lot of the fun of this show is seeing a (somewhat) privileged white male get a wakeup call of epic proportions. Watching the two main characters formulate a third personality between them that suits their mutual purpose is a charm. There’s a normal loving relationship between the character of the painter and his boyfriend, who also have normal loving differences. All of the characters are well-drawn and believable. Sensible people who somehow allow a situation to get out of hand. It’s funny till it’s not.
The cast jumps into the fun with both feet. Andrew Catterall takes on the difficult role of Gus, a man with a bright idea who sees it turned in mush and mayhem. He’s an accomplished painter, with the other characters praising his work, while perhaps not understanding it. His paintings are part of the proverbial “white” of the title. Andrew gives equal expression to his own belief in himself and his idea, the gradual disintegration of his confidence, and the puzzlement of “what went wrong?” Timmy Panintuan, as Gus’s love interest, takes what could have been a sort of throw-away role and makes it into a strong and interesting character. He lets us believe that you can be loving and yet still not approve of what your partner is doing. Maya Ferrario (Jane) is key to Gus’s problem. As a trusted friend, she’s a noted gallery administrator with her own ideas of what the art world needs. It’s not another white man’s art on her walls. Therein lies Gus’s dilemma. While Jane is supportive, she’s also confident and strong in her decisions.
But you have to admit the evening belongs to Kenya Mahoghany Fashaw as the actress hired to be Gus’s “ghost painter.” Hesitant at first but soon caught up in the excitement of the “role,” she embraces her new persona with gusto. Melding from an insecure actress who can’t get a break to an outspoken, feisty woman with a mission, she is a hurricane of energy and attitude. Not one to be trifled with once she adopts her new self, she becomes a tsunami, steamrolling and winning all to her way of thinking.
There are, of course, political overtones to the script. Racial tourism, gender identity, white privilege, the importance of art, class differences – all have reference in this excellent script. But there’s also an almost whimsical quality to watching the underdog “creature” come into her own. We knew it couldn’t last.
A WOW factor of 8.75!!