Energetic 'Escape' charms Trueblood

From the first charmingly ludicrous exchange between mother Nora and daughter Gail as Gail's husband lies moaning in a pool of blood, George F. Walker's "Escape from Happiness" lives up to its description as an emotional roller coaster, a deliriously paced drawing-room "Pulp Fiction."

Those unprepared for the furious, almost demonically Shakespearean rhythms of Walker's script may at first be overwhelmed, but the skill and energy of the University's theatre department soon absorbs the audience.

"Escape from Happiness" is, at its most basic level, the story of chaotic events in a family already coming apart at the seams. Matriarch Nora Dawson (Dara Seitzman, in a tour-de-force performance) governs unflappably over her three daughters and hu

Courtesy of David Smith Photography Charlie Jett takes aim at Anthony von Halle in "Escape From Happiness."

sband, all of whom suffer from some level of neuroses. The Dawsons lead a relatively normal life, their sanity hinged mostly upon gleeful nuggets of ruling wisdom from Nora and a strict code of silence between father Tom (Charlie Jett) and the rest of the family.

There's Elizabeth (Krista Braun), a high-powered lawyer who clashes with the police and sleeps with "men, women, anyone who's nice and sexy." Self-effacing Mary Anne (Julia Siple), who is perpetually on the therapist's couch, contemplates whether being great must involve being a lesbian, while rebellious Gail (Aimee Penfield Clark) struggles to bridge the distance with her father.

As they all weave their tangled web under the watchful eyes of Nora, the audience is struck not by the improbability of their motivation but the curious ease with which they reflect the human condition.

When Gail's husband Junior (Markiwitia Jackson) is beaten by unknown assailants, the assault sparks a chain of events that involve battling police officers (Angela Lewis and Anthony Von Halle), small-time criminals (Steve Best and James Frounfelter), and a bag of illicit drugs.

Beyond the hysteria of the character's interactions, however, lies the theme that allows us to see the Dawsons as more than amusing caricatures: the struggle of a family who, in Tom's words, "doesn't think they deserve happiness."

Walker's dexterity as a playwright lies in persuading the viewer to genuinely care for the most unseemly of characters, allowing their bizarre motives to latch on to the audience and absorb them until the final scene. His other talent is in the unusual richness of dialogue, seemingly trite phrases which he weaves into sonnet-like creations.

Here the talent of the University's theatre department is highlighted, for the furious pace of the script requires unflagging energy from the ensemble. Dara Seitzman and Julia Siple stand out in particular, manipulating endless strings of dialogue into characters that are vulnerable, maddening and yet ultimately lovable, much like any real-life mother or sister.

The play's few inconsistencies, as well as a slight lag in the ending and less-than-stellar performances from the policemen, can be attributed to a tight rehearsal schedule, not to mention the difficulty in introducing some of Walker's more sentimental family subjects following scene after scene of conflict.

"Escape from Happiness" stands out as a showcase of one of Canada's leading playwrights, whose lack of popularity thus far in the United States remains a mystery. Director John Neville-Andrews' production more than justifies an exposure of his work to the University, and the exemplary performances among much of the cast bring highlight his anything-but-ordinary tale of survival in a family.

10-11-99