Dressed only in black bras and mini-skirts, dancers gyrate provocatively in time to to Britney Spears’ “I’m a Slave 4 U.” No, it’s not your regularly-scheduled TV programming, it’s Nomadic Theatre’s production of Jean Genet’s The Balcony, where sex reigns supreme. In this titilating exploration of the complex relationship between power and sexuality, Genet uses the interactions between prostitutes and their patrons to construct a cynical and deeply penetrating microcosm of modern society.
The story takes place in a brothel called the House of Illusions. Within are several “studios” where clients come to have their most deviant fantasies acted out for a price. The first half of the play focuses on three patrons. The plot does not begin to develop in earnest until the middle of the play.
The Balcony is an ambitious production with a large cast and no clear lead role. The first character of note introduced is the brothel’s first patron, the reptilian Bishop, played by Michael Benz (CAS ‘04). Entering stage right in ten-inch-heeled boots and full-robed regalia to a haunting Gregorian chant, he quickly sets the disturbed mood of the play. His contorted pale face, affected accent and mad cackle are just creepy.
Standout performance accolades go to Adam Aguirre (CAS ‘06) as the Judge. His facial expressions are unique and captivating and he seems completely comfortable portraying his character. He flails from on end of the stage to the other and is surprisingly nimble in his stilted shoes, which all the power figures in the play wear to great effect. Aguirre’s histrionics might draw more than a fair share of the limelight, but deservedly so.
The play’s love affair between George the police chief, played by Jamie Biden (CAS ‘04), and Madam Irma, played by Christina Chiocca (CAS ‘05), is alluded to from the start but is not depicted until almost halfway through the play, when the plot begins to unravel. The chemistry between them is readily felt, but it also feels somewhat unwarranted. Madam Irma’s love for George is explosive and results in violence, yet there is no discussion of their past together. Chiocca is convincing as the controlling Madam Irma and succeeds in mastering a daunting role with line upon line of dialogue. She commands the attention of the audience in the same way Irma dominates her fellow characters.
Outside in the city streets a violent rebellion is taking place. The audience is told this in the first scene and reminded of it throughout the play by intermittent gunfire sound-effects and screams, with sound design by Ed Fenlon (CAS ‘06). The rebels are introduced during the second half of the play. The rebel’s moral leader, Chantal, played by Christina Livadiotis (CAS ‘06), is involved in a relationship with Roger, played by Adam Yaeger (CAS ‘04), her male militant counterpart. Their duet is a highlight of the play. Yeager’s performance is genuinely moving and soulful and stands in stark contrast to the folly of the rest of the play.
Although its size makes Black Box Theatre is a difficult space to work with, the stage design team has done an admirable job. Scenic Designer Elizabeth McBreaty’s (CAS ‘04) techniques incorporate the set directly into the action. As the rebel attack elevates to a fever pitch the frame forming the of the set collapses and dust and rubble fall to the stage. Mirror frames set on tracks in the ceiling are slid along the stage to signify scene changes.
While some details of the characters’ development and relations are unclear and the play has a three-hour running time, the standout performances from Aguirre, Benz and Chiocca, the intriguing plot, and entertainingly overt sexuality make The Balcony worth seeing.
The Balcony will be performed in Walsh Black Box, and will run March 18-20 and 25-27. Tickets are $8, $7 for group rates.
