By James V. Ruocco
It's a quest like no other - or, if you prefer - an emotional journey where fact and fantasy are just plain weird, nerdy or hilariously fucked up. So, let the games begin.
Qui Nguyen's potent, vigorous 2011 play "She Kills Monsters" - inspired by the hugely successful role-playing game "Dungeons & Dragons" - is filled with humorously flecked references to the early days of the Internet and 1990's television bits and bobs, offset by epic, live-action elements of the D&D underground culture and quirky, involving sub-plots that include action-packed duels and sword play, graphic bloodshed and violence, wizards and warriors, the appearance of five-headed dragons, a gelatinous green cube, a notebook with secrets that magically spring to life and a good-vs. evil scenario featuring a colorful populace of characters ranging from vindictive homophobic cheerleaders and supermodel elves to paper bag puppets, crazed demons, hormonal lesbians, proud dungeon masters, clueless boyfriends and a young girl who recently died in a car accident.
Perfect fodder for a play, you ask?
Hell, yes!
Nguyen's narrative and its goofy, cohesive spin on life itself and the D&D world of its hardcore fan base sets Hole in the Wall Theater's inventive, standout revival of "She Kills Monsters" in constant motion for well over two hours (there is also a 15-minute interval) much to the delight of everyone on stage and in the audience.
Energetic.
Ingenious.
Marvelously crafted.
Outrageous.
Sexy.
Imaginative.
Mind blowing.
In terms of escapism, "She Kills Monsters" succeeds swimmingly as it wildly connects the dots with hard-work flair and excitement toward the original material and its uncanny knack and appreciation for the D&D game itself and its many tilts, curves, wonders, adventures, accidents, revelations, pronouncements and influences.
But first, let's backtrack.
At Hole in the Wall, the fun actually begins once you enter the theater. The masked crowd - a necessary and important factor during these troubled COVID-19 times - is primed, ready and dressed to kill (no pun intended) - anxiously awaiting the "Dungeons & Dragons" journey to begin, which, of course, most of them already know word for word, heart by heart, game by game. You can see it their eyes, their choice of wardrobe, their conversation, their animated persona and their eagerness to get the best seat in the house. Gay, straight, transgender, non-binary, nerds, geeks, you name it. Everyone at Friday night's opening was primed for the actors to take their place on the HITW stage and the houselights to dim.
Ready! Set! Action!
Cutting edge theater - at its finest.
To set the mood, "She Kills Monsters" comes gift wrapped with a welcoming intro of sorts explaining the etiquette of the theater, its rules, its regulations and its protocols. Hilariously delivered and ad-libbed by J. Mason Beiter who plays the pivotal role of Orcus in the production, this commentary is rife with demented, flip and completely fucked verbiage that not only sets the tone for what's to follow, but prompts a monumental curiosity as to who exactly this actor really is and when exactly he will pop up on stage to perform. Suffice to say, Beiter's onstage performance is not only well worth the
wait, it's actually the comic centerpiece of this hilarious D&D, mystifying and magical opus. The laughs and cheers that greeted his opening "rules and regulations" requiem were just the beginning.
As devised by Nguyen, the plotline for "She Kills Monsters" is set in both the real world of Athens, Ohio (circa, 1995) and the imaginary one of "Dungeons & Dragons." As the play opens, 24-year-old English teacher Agnes Evans has lost her younger sister Tilly and her parents in a car accident. Upon looking through her sister's belongings, she finds a D&D module, written by Tilly, mapping out the detailed parameters of the "Dungeons & Dragons" game and the characters themselves. With the help of Chuck Biggs, a high school D&D expert (the character is actually based on the real-life friend of the playwright), Agnes enters the imaginary world of her sister's creation with Biggs doubling as her Dungeon Master and guiding her through the tangled web of Tilly's creation, which, surprisingly reveals hidden secrets and desires from her deceased sister's life.
To bring "She Kills Monsters" to life, Hole in the Wall Theater has placed Terrance J. Peters in the director's seat. The perfect fit for this particular form of slap-dash-wallop entertainment, Peters has staged "Completeness" and a virtual production of "This Is Our Youth" for HITW in addition to "Arcadia & Frankenstein" at the UMass Theatre Guild. Acting wise, his credits include Michael in "God of Carnage," Rooster in "Annie" and Brad in "The Rocky Horror Show." For this production, Peters is faced with the challenging task of crafting a theatrical piece set in both a fantasy and non-fantasy world, a directorial feat that would send most directors running for the nearest exit or the nearest pub or bar-and-grill. That is not the case here.
Peters, as director, turns "She Kills Monsters" into a viable showcase of invention, wit, imagination and dare or dare to be dared wizardry. His connection to the material, the 90's game of "Dungeons & Dragons," the characters (real and imagined) and the edgy, satirical and cohesiveness of the two central stories, is both focused and inspired, thus, delivering a 5-star production where both actor and audience are totally absorbed in the wild and wacky world of his creation.
And what a world it is!
Here, everything from costumes, make up, lighting, sound, music, scenery, set changes, props, fight choreography and special effects play a key role in the story's vivid, over-the-top telling. There is no room for error. There is no room for mistakes. There is no room for wrong line deliveries or character interpretations. There is also no room for any of the action - real or imagined - to stop dead in its tracks. Peters, as interpreter, knows this and gets things right at every turn. His re-enactment of Nguyen's celebrated play dances to its own drum roll, using effective, important, seamless staging movements and blocking techniques, which carry the story forward without ever once missing a beat. There's LOTS and LOTS going on, but Peters, pro, that he is, keeps things steadied and controlled. Timing is everything here and nothing ever gets lost, stepped upon or drifts out of sync. Peters knows exactly what he wants and he runs with it.
In the role of Orcus, a demon overlord and soul-snatcher of the underworld, based, in part, on Tilly's high school friend Ronnie, J. Mason Beiter, all but steals the show, delivering a wacky, hilariously, reefer-tinged, blazing comic performance so real, so centered and so creative, you can't help but smile, laugh or applaud him every time he's on stage. It's an exciting characterization built with unbridled glee, sweltering freshness and in-your face snap and giddyap. As Chuck Biggs, a friend of Tilly's who becomes the Dungeon Master for Agnes' D&D journey, Stephen Kalpin keeps the part afresh with just the right amount of charisma, personality, support and mystery. He's absolutely perfect for the dual roles he is asked to portray.
Sarah Etkin, as Agnes Evans, projects apt concern, warmth and curiosity as Tilly's sister. Her entrance and eventual descent into the magical D&D world is one the actress powerfully conveys with determination, drive, thrust, angst. adventure and sheer, sword-wielding delight. Playing the dual roles of Agnes' sister Tilly and Tillius the Paladin, Zoe Hayn offers two uniquely different, electric performances that are clever, driven, revealing, poignant and perfectly in sync with the playwright's vision of both characters. The audience - loving everything she does - is with her every stop of the way.
In a no-holds-barred performance that prompts laughter in all the right places. Lily Kops portrayal of the mean-spirited Farrah, a loud-talking, dirty-mouthed fairy is amped with gleeful hysteria, glam and bitchiness that puts this mean girl at the top of her game. Mess with her and it's light's out.
Other fine performances come from Kendra Daisey Garnett as Lilith, Kerrie Macquire as Kaliope, Greg Mahoney as Miles, Kirsten Easton-Hazzaa as Vera, Kait Fitzpatrick as Tina, C.S. Dunn as Steve and Sydney Yargeau as Gabbi. All six have great fun bringing their respective characters to life while all around them cheers, shouts, screams, choice wordplay and loud clapping from excited D&D fans greets their on-stage antics.
A likeable, marvelously inventive production chock full of accomplished swords-and-sorcery craziness destined to elicit a "Dungeons & Dragons" game at the stroke of midnight, "She Kills Monsters" is one of this season's big surprises. It is not only another playful and organic standout for Hole in the Wall Theater, but one that quickly affirms the troupe's ongoing passion for off-the-beat theatrical fare that challenges, stimulates and excites its audience.
As scripted by playwright Qui Nguyen, this D&D commentary vividly embraces its geeky underground culture front, backwards, sideways and upside down and thus, creates, an immersive fantasy world where fairies, shape shifters, demons, outsiders, wizards, heroes, heroines and antagonists act out their wildest moments scene by scene, act by act, much to the delight of everyone around them while pretty much anything can happen and does.
Under Terrance J. Peter's feverish direction, the cast - every single one of them - is a mighty force of wild, uproarious fun who make "She Kills Monsters" a remarkable, effective piece of theatre that celebrates the power of the "Dungeons & Dragons" ownership and its legions of loyal followers, all of whom uphold the elements of the popular role-playing game and its frequent flights of irrepressible fantasy.
Photos of "She Kills Monsters" by MasonMedia
"She Kills Monsters" is being staged at Hole in the Wall Theater (116 Main St., New Britain, CT), now through May 28, 2022.
For tickets or more information, call (860) 229-3049.
website: hitw.org
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