REVIEW: The Dragon (Spooky Action Theatre)
Spooky Action Theatre’s been haunting 16th Street for 21 years now. In the words of founding artistic director Elizabeth Dinkova, “now we’re old enough to drink!”
To celebrate, they’re keeping things classically Spooky with cautionary tale of surveillance, power, and the rights of migrants in an adaptation of 1944’s The Dragon by Evgeny Shvarts. This production features additions by Jesse Rassmussen and Yura Kordonsky, and is directed by Dinkova.
Book
Shvarts’ original work is a brazen attack on authoritarianism, from the 1944 lens of the West inching close to the defeat of one amid he nascence of another. It tells the story of Lancelot and his quest to slay the dragon that has ruled over a village for centuries. Despite its iron fist claw, the townsfolk find no issue with its presence; in fact, there’s even slight fear at its removal given the ubiquitousness of it. Where the writing diverges from the original source is its modern recontextualization. The original play is now within a broader play (or perhaps not.) Smartly, it is staged as a fantasy of three migrant women left to rot in a detention cell against the indifference of their wardens. This colors the production in a demented hue that reverberates throughout the two hour runtime well. 8/10
Acting
The performances are the strongest component of this production. The initial friction between the prisoners melts to become an inviting triad of magnetism, and the guards are both pesky and foreboding with their contrastingly goofy “just following orders” mentality. Fran Tapia shines as Lancelot, the central hero, flanked on either side by a dynamically emotive Raghad Makhlouf and a tragically poised Surasree Das. Gabriel Alejandro and Ryan Sellers, too, have a strong stage rapport that feels natural and often sinister. In the web of movement, each feels distinctly connected to the material in a way that elevates the piece when others fall flat. 8/10
Production
Dragon features a slew of different locations. Dungeons, village squares, homes, castles; yet, the direction does not effectively facilitate these, leaving the narrative untethered and flailing. There are numerous opportunities to elaborate on the inherent DIY ethos of the prologue that are missed in favor of a stretched suspension of disbelief. It’s especially disheartening given the ample space given and the apparent skill in creating the set pieces that do exist. But, things aren’t all drab: there’s great lighting work from Mike Durst, and there’s one incredibly executed scene in Act I involving a surveilled, high-tech standoff that sends shivers down spines. 3/10
Viz
I’m a big fan of the intensity of Spooky’s key art for this production. Rugged reds and shocking yellows dazzle up ads and programs left and right, evoking a dilligent firestorm of performance. The pre-show paints a far different story: a plain prison cell with some blue light. This contrast is pleasant, inviting the audience to wonder what chaos is to unfold. Whether or not it upholds the premise remains up for debate; to me, it just sets the initial scene without further ado. 5/10
Verdict
The Dragon crafts a vividly scary picture of totalitarianism and the risks of complacency; but while the telling succeeds, the showing doesn’t. 24/40
