This show has closed.  Thank you all.

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First Thursday performance is "pay-what-you-wish"

Rainy (Angela Amos) and

Clovis (Brian Gilbert) in

SO FAR: The Children of the Elvi.

Photo by Shelly Randall.

Audience Comments

Once again the Key City Players have pulled a rabbit out of their hat. This maniacal comedy portrays what has got to be the ultimate dysfunctional family - by comparison it makes The Simpsons look like Father Knows Best. A uniformly superb cast; kinetic, imaginative directing; an outrageous set and costumes that won't show up in your local Gap store anytime soon makes this a surrealistic theater experience that shouldn't be missed.

                — Paul, Port Hadlock

I haven't seen the show, but I have seen the set. You may want to come a little early just so you can view the set. If the show is as entertaining as the set we are in for a real treat.

                — Catherine, Port Townsend

" "
 

We’re at the crossroads, Robert Johnson. World-class artists have always lurked in our Victorian seaport yet, until recently, our gaslight theatres have proved beacons of rectitude, comfortably safe from streetwalking progressives. Nowadays our Key City Players and The Paradise Theatre School seem engaged in a talent contest, leapfrogging each other at will. So far, “SO FAR” easily clears our highest bar. Will this Calaveras jump be a green blur over a 2-story alehouse or are we, the audience, being ushered into a golden age of multifaceted theatre in Port Townsend.

The play, “SO FAR: The Children of Elvi”, a short-version world premiere by Constance Congdon, sneaks up on us with the subtle deftness of a steamroller. The apocalyptic vision of “Mad Max” or “Pirates of the Caribbean” with seven characters we actually care about. Act One rolls you out flat, wondering what hit you. Act Two is kind enough to flip us over and do it again.

The Director (Denise Winter) is guilty of high theatricality. Her uniform good casting and actor guidance forged an unbreakable chain with no weak links. The repertory physicality and carefully staged chaos were exhilarating especially for any retirees in the audience. Her in-person collaboration with the playwright surgically removed over an hour from the play’s original running time resulting in a lean muscular physique.

Program Artist/Designer (Jolene Sunding) depicted graphically the play’s essence. Set Director (Brad Mace) painstakingly placed so much early-Alaskan roadhouse junk into one small space, it’ll never fit back in his truck. Costume Designer (Erin McNamara), with her sober eye for Skookum couture, should be his designated driver. Lighting Designer (Ellen Falconer) and Make-up Artist (Angela Brasier-Agnew) both get aerobic workouts during the show’s run.

The unpredictability of Chet (David Wayne Johnson) and Beartha (Camille Hildebrandt) easily siphon our attention whenever on stage. Mama (Nancy Muir) commands undying allegiance and gets it. Rainy (Angela Amos), Redmond (Caleb Dearing), and Clovis (Brian Gilbert) highlight the majesty of pidgin English while exploiting their obvious physical beauty. Watch out for Father (Peter Wiant). Father Knows Best.

Is Ms. Congdon’s (“Connie” after attending her excellent interactive Master Class) abridged premiere worth crossing Hood Canal for? Is the Pope Catholic? Do I give this production of “SO FAR: The Children of Elvi” all 5 amateur stars? Yes. I think so. Yes.
 

                [This review was also posted on SeattlePerforms.com.]

                — Steve, Port Townsend
 

I didn't make it past the interval. And I hated to leave something that so many people had worked on, so well. However, there was so much anger, shouting, fighting - it was relentless and never let up. I couldn't wait to escape. The playwright gave us plenty of clever lines but it all sounded forced and often the words came and went so quickly that it was difficult to enjoy them fully.

The idea of the play was excellent, as was the acting and general direction, but -too much. This is the first time in the past four years that I've been bored with a performance.

Once again, following Tartuffe, KCP brings us a very strong production. The material is edgy to be sure, but among the fine performances is one that is among the very best I've ever seen in amateur theatre. When you see the show see if you agree and, if so, see if you can guess which performance I'm talking about. That may be difficult.

                — Art

Key City Players

is funded in part

by a generous grant

from the Port Townsend Arts Commission.

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