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Under Construction has been my favorite show of the year thus far. Everything about it from the lighting, the blocking, to the set, to the actors themselves blew me away and fully captured my attention. The director proved his capability of stretching the actors through emotionally and sometimes physically taxing pieces, while simultaneously expressing clearly a message applicable to the specific audience.

The piece portrayed the evolution and effects of pertinent social issues in sometimes satirical and sometimes gripping ways. The show could be considered a comedy or a drama, based solely on what scene was being performed at a given time. I laughed intensely and also wept within the span of ten minutes. The next minute, I would find myself nodding or laughing again. Each individual scene had clearly been toiled over and celebrated by the cast, for not one line came without thought or intention. All had been careful crafted by the director, the actors, and the playwright, though Charles Mee would probably argue the weight his hand held in inspiring some of the work. My eyes have been opened to the possibilities and fluidity that an experimental theatrical piece such as this holds and the power that it can convey, for every part and facet of it holds huge pieces of each performer’s inner being.

Costuming was simplistic, typically a black leotard, black leggings or pants, and plain white or black tops. Additional props, skirts, wigs, and the like were worn over top of this costume. This allowed each actor to participate in multiple scenes and to maneuver between transitions quickly. In the opening scene, cardboard cut outs, similar to what a paper doll might wear, were attached to the actors. This emphasized the facetiousness of the “ideal” 1950s that is so often thought of as being real in television shows and movies. The biggest problems in America seem to only be if there will be enough food for everyone at dinner and if the children are behaving well in school. However, we soon are slapped with the reality that much more is happening outside of this home than idealism representations present. In another scene, a man wears a white mask, completely hiding his face and immediately giving the audience a sense of his character’s maliciousness.

The set was simple and flexible, leaving lots of room for the audience’s imagination. A few small, black blocks, some wooden planks, two saw horses, a drum set, and a guitar made up a highly dynamic and mobile set. Additionally, the actors are able to further enhance the visual dynamism of the show by shifting the set in choreographed ways. Plastic sheeting served as a sort of backdrop for the stage, shielded in two “doorway” areas with strips of “caution” tape. These elements, along with the saw horses and planks formed a sort of symbolism based on the title of the show. We, as human beings, are intended to be creators, continually building on the successes and unfortunate failures of past humans, for the future.

Lighting also plays a large role in this, by making these seemingly ordinary objects very strong platforms for stronger scenes. In one scene, a singular, small light is lowered on a wire to a column of stacked boxes. Three female performers lean up against three sides of the pillar as a masked, malicious seeming male proceeds to fling the light in a circular fashion, momentarily illuminating one actress. The light, combined with the staging of the set and the actress’s labored monologue together create an incredibly moving and powerful theatrical expression of enslaved sex trafficking victims and, on a broader scale, those who experience oppression in general. I noticed that during this scene, several audience members grasped their arm rests anxiously and many sniffles were heard. The scene effectively put the audience in the shoes of these degraded women and allowed them to see through a new, sorrowful point of view. In other scenes, the cast would be illuminated from behind the plastic sheeting, forming silhouettes similar to those we have seen in indian theatre with shadow puppetry. These figures when united create a strong scene of those lost due to war and their families’ sacrifices. Spotlights are used more frequently as scenes becomes more and more personal versus the flat lighting illuminating the highly satirical and comedic 1950’s scenes.

Tying the comedy of the 1950’s falseness to the reality of the oppression and suffering of minority groups were projections of several small, organized clips and quotes relating the issues of history and modern day together. Individual monologues and the scenes of dialogue translated well afterwards, because the audience was then able to draw comparisons and parallels between the representations.

Live performances by the drum set, guitar, and solo performances by the trumpet added a sense of period to the piece, as many of the songs were chosen based on the scene itself and the period the scene was coming from. Live vocals, often without accompaniment, allowed iconic songs, such as Radiohead’s “Creep,” to be sung in a hauntingly novel way. Words that many haven’t given much thought to in the lyrics were given a very tangible meaning when sung during an expressive scene of internal shame and confusion in a young, black, cross dressing male.

The cast is phenomenal. Their sense of unity and ensemble blew away the audience. After reading in the program and talking with some of the actors about the rehearsal process, I was humbled to have heard how much of the actors as individuals was left on the stage during the performance. Many of the monologues were written and edited by the performers, showing an immense sense of vulnerability and spirit. I was honored to have been given such a large window into the lives of so many individuals who have felt oppressed, burdened, or ashamed of who they are by the world. The piece is truly a work of art and I have encouraged many to see it, in the hopes that they would too take away what I have taken away from it.

After Under Construction, I will be on the lookout for more experimental theatre pieces performed at UGA and other venues. The ease and speed that scenes were changed, as well as the power and concentration of each emotion expressed, was truly impressive and a delight. It was a breath of fresh air to many of the shows I have seen in the past and look forward to more from this director and cast members. I believe that this show has created a ripple effect, one that has already inspired discussion and action, motivating us as students, Americans, and human being to continue building a brighter future.