Nomadic Theater kicks off its 20th-anniversary season this weekend with Paula Vogel’s Hot ‘N’ Throbbing, a play that explores those oft-equated concepts, sex and violence. Charlene, a single mother, struggles with both her unusual artistic ambitions and her dysfunctional family. As a writer for a female-oriented erotic film production company, she struggles to support her two children after her estrangement from her abusive alcoholic husband, Clyde. The play chronicles Charlene’s struggles with sexuality, domestic abuse and the connection between pornography and violence against women.
Elizabeth Fountain (CAS ‘02) gives the show’s most consistent performance as the category-defying Charlene, a concerned mother whose only artistic outlet is her screenwriting for “Gyno Productions.” Fountain is clearly up to the task. She moves effortlessly across her character’s spectrum of roles?stressed mother, deadline-meeting writer and, finally, abuse victim. Charlene’s compassion and need for her family fight against the reality of her situation; trapped in the cyclical dysfunction of her marriage, her hope and frustration are palpable.
Charlene’s subtleties and insecurities come alive. Fountain senses the social implications of Charlene’s life and work but doesn’t let them dominate her attitude. She simply lets the audience soak in that knowledge while focusing her character on the day’s challenges. Likewise, the play’s denouement is allowed to stand by itself. Fountain remains real, instead of attempting to overemphasize the play’s political elements.
Andrew Hubschmann’s (CAS ‘02) portrayal of Clyde’s bumbling, violent fatherhood is quite believable. Hubschmann handles the hilarious entrance sequence admirably, especially the grind-accompanied proclamation of his status as the purveyor of “sex on welfare.” One of the play’s more dynamically bizarre scenes follows, as Clyde receives first a gunshot wound and then varying degrees of tough love from Charlene. Hubschmann understandably appears off base?the shift in tone alternately draws a gritty humor fault line and a powerful residual fear. Effectively walking this line at times proves a challenge for a character whose only established traits are drunkenness, spousal abuse and whatever else one might be expected to associate with the one-two punch of Hubschmann’s perfect scumstache-budding mullet combo.
Leslie Ann, the couple’s oldest child, is well played by Mary Nagle (CAS ‘05). Her convincing adolescent clashes with Charlene are well complemented by her affection for Clyde. Add her genuine anger towards her brother Calvin, and a simple yet cohesive portrait of female adolescence emerges.
Mitch Fox (MSB ‘05) gives a straightforward portrayal of Calvin, the couple’s youngest child. Nonetheless, he channels Calvin’s private sexual interest in his sister and parallel anger towards her obvious coming of age rather disjointedly. His interaction with Clyde lacks an illustration of the balance between his disgust at his father’s behavior and a need for his father’s presence.
Albrecht von Sydow (GRD) and Clare Corson (CAS ‘03) round out the show with their portrayals of forces and characters just beyond the family’s perimeter, or just below the surface. As Charlene’s voice of reason, Corson brings a luscious sensitivity to Charlene’s subconscious. She also shifts gears well, portraying both Leslie Ann’s timid best friend and her parents’ worst stripper-tinged imaginings.
Von Sydow’s enthusiastic portrayals of, among other things, Captain Ahab, a male fantasy object and a dejected detective are topped only by the energy he brings to Charlene and Clyde’s arguments. As the tensions build between the two, von Sydow’s invisible character barks out commands, setting the dialogue back in time so Charlene can attempt to reason with Clyde a second time?but always in vain. Here Director Rebecca Ende’s (CAS ‘03) skill shines; as Charlene’s frustration builds with her impossible husband, the two circle the room, while quick lighting dips highlight the shouted commands.
Paul Hughes’ (CAS ‘03) lighting was effective and well balanced. Mario Hernandez’ (SFS ‘02) set design also deserves special mention, as it brings the feel of a suburban home, yet always feels wholly appropriate during the play’s hotter moments.
Hot ‘N’ Throbbing comes alive in these actors’ skilled hands. Vogel’s play feels sharp and disturbing as Fountain’s sure lead never falters. The play’s vital exploration of domestic violence and sexuality is both harrowing and necessary.
