Reviewed by Amalisha HuEck
The word around town, from outlets like Broadway World, "Rogue Machine can't seem to stop making fierce, groundbreaking, sublimely original theatre hits one after the other," keeps us looking forward to the next big surprise from this theatre company. The West Coast premiere of Evanston Salt Costs Climbing by Pulitzer Prize finalist Will Arbery is surely a pure demonstration of that statement.
You enter into a world of winter, and you stay in that world until the very end. Effects such as seeing snow falling and extreme blizzard sounds, showing the temperature is way below zero, seem so real that the cool theatre space becomes even colder. The gloomy days without sunshine bring a feeling of loneliness, melancholy, and despair. It's no wonder some of the characters have suicidal thoughts, feeling that death is near and could happen at any time. Seriously though, it plays as a comedy with lots of laughs.
The story takes us into Evanston, Illinois in January of 2014, 2015 and 2016, unfolding at the salt dome where two men from Public Works are taking a break before returning to their road salting truck. Their adventures, truthful feelings and troubles are expressed with full involvement of their emotional states, with humor and fears. Basil, played by Hugo Armstrong, is an older, smarter, and very playful man from Greece who is connected with death from the very beginning. Although he appears to be a man of secrets, he shares the story of his Yiayia (grandmother) and her warning to him about the lady with the purple hat who will take him away if he lets her get to close. His companion Peter, played by Michael Redfield, has an unstable personality and brings up his reoccurring thoughts of suicide as he's taking us on a roller coaster of emotions. I will never forget the scene in the truck as the heater stops working for Peter and Basil while they are driving in a snow storm, "the cold has entered my heart, it's minus thirty," cries Peter, as the rapid-fire dialogue begins in an effort to distract them from the cold. Their boss, Jane Maiworm, played by Lesley Fera, is excited about the new green technology that would replace the current old-fashioned way of spraying salt on the roads, and Jane Jr. (Maiworm's stepdaughter), powerfully played by Kaia Gerber, have a big impact on the audience. All four actors are strong in their choices and powerful in their deliveries. What a storm of emotions from all the actors!
Artistic Director Guillermo Cienfuegos dug into truly bold choices, which perfectly expressed the monotonous life of living in a frigid land covered with snow and salt. This production is original and, indeed, groundbreaking. Throughout the play, there are fierce choices, from using the F word a lot - with humor, to the super intimate sexual scene. This phenomenal production is not to be missed.
Director Guillermo reveals, "It's so funny and absurd and unusual that a first reading doesn't necessarily reveal how deeply the themes of the play go. Amidst the quirkiness and laughs there is an undercurrent of anxiety and existential dread that all the characters come in contact with and must ultimately face."
We would not have the magic of true winter without the fabulous scenic design by Mark Mendelson, together with the projection design of winter conditions, such as snow falling etc. by Michelle Hanzelova-Bierbauer. Ice-cold weather effects so vigorously meet the frigid road conditions in this play, it has you feeling the cold. Topping off the brilliant production elements are Christopher Moscatiello's sound design that adds to a mind-blowing garage door opening and closing as a diesel truck drives into and out of the snow, which is seen swirling in the headlights. Lighting design by Dan Weingarten adds to the amazement of what can actually be done on small stages these days, while Christine Cover Ferro's costume design, Jenine McDonald's props, and Myra Gawryn as Movement/intimacy Coordinator are spot on and keep us immersed in the realism of a snowy Evanston in the winter.
What a team of creators! The team includes Justin Okin Executive Director), Athena Saxon (Associate Producer/Assistant Stage Manager), Rachel Ann Manheimer (Stage Manager/Production Manager), Tony Valdez (Wig Master), Hall McCurdy (Assistant Director), and Grant Gerrard (Technical Director),Judith Borne (Publicity), Ramon Valdez (General Manager), Elina de Santos (Director of Artistic Community Impact), Ruth Fowler (Social Media), Scott Sheldon (Company Manager), Marsha Henry (Box Office Manager), Victoria Hoffman (Resident Casting Director), Marcus Matthews (Master Electrician), Robby Meredith and Chloe Verbestel(Electricians) and Bill Voorhees and Rochelle Concepcion (Carpenters). I cannot leave anyone out, because of the team effort by all - a truly magical play is created!
You can see Evanston Salt Costs Climbing at the Rogue Machine (in the Matrix Theatre), 7657 Melrose Ave., L.A. on Fridays, Saturdays and Mondays at 8:00 pm, and on Sundays at 3:00 pm (2:00 pm matinees added on Saturdays, Feb 15, 22, and March 1), until March 9th 2025.
The performance runs for 90 minutes without intermission. The tickets are $45-$60, and they can be purchased at 855-585-5185 or by going on www.roguemachinetheatre.org