Anyone who has seen an Ethos show can tell you that they're unlike any other show in town. They're characterized by their rampant nudity and violence, as well as themes of lesbianism and paganism, but also for their gorgeous costume and set design. Despite the constant dark themes and heavy, terrifying tone, the shows are always an awe-inspiring experience. Their production of Vampyress, written by Chad Salvata, was a huge hit back in 2005, winning numerous awards and winning heavy acclaim from a number of critics, and the company, led by director Bonnie Cullum, has decided that their play would be a perfect fit into this Halloween's theatrical season.
Vampyress is a rather extreme play in several regards. Its nudity comes early and often, with nearly every character in the play stripping down to nothing at some point in the play's run. The nudity is not the only problem here, however, as the heavy blood and violence is also sure to raise some attention. Blood flows heavily through several scenes, but it's at its worst late in the play. In one scene in particular, the Countess, as a young woman, slowly and deliberately slices into a nude young girl, bloody oozing from each cut in a sequence that goes on for several minutes and leaves much of the audience uncomfortable. Obviously, it takes a gut or iron and nerves of steel to take on the piece, but if you're brave enough to try, it's well worth the price.
It is to the play's benefit that the first thing we hear as the lights come up is the velvety voice of Betsy McCann as Stephan Hapsburg, setting the stage perfectly for the rich, emotional experience to follow. McCann carries herself with a grace and charisma that makes audience members of both genders fall in love with her, her bizarre mannerisms and ritualistic, dancelike movements pulling us into the nightmarish dreamscape. Whether she's snarling with menace or showing one of her few instances of tenderness, the moments she's on stage make up some of the biggest highlights of the production.
Melissa Vogt-Patterson, who returns from New York solely for this production, plays the bloody countess Erszebet Bathori, and shows off the skills that allowed her to make it in the Big Apple. Her voice is full and powerful, reverberating through the entire the space with every note, seeping into the souls of the audience and sending chills down their spines. She jumps from seductive to maniacal at the drop of a hat, playing madness with real honesty, as a genuine sense of fear and doom begin to take hold in the hearts of the viewers. Problems occur in many of the duets or group numbers, as Vogt-Patterson's voice is so strong that it sometimes overpowers the other performers, making us lose important pieces of information a few times throughout the piece.
When trying to decide whether or not to see Vampyress, the question is not the play is “good”, but instead whether it's for you. On its own merits, Vampyress is a quite accomplished play, featuring breath-taking music, costume, and sets, an unforgettable ride through the darkest parts of Eastern Europe, but that doesn't change the fact that the material can be a bit too extreme for many viewers. The violence, nudity, and dark and bizarre tone can be a huge turn off for most, but those lucky individuals who fall into Ethos's fan base are in for a very memorable theatrical spectacle.
Ethos's Vampyress will be playing through November 13th at the Vortex Theatre. For more information, and to purchase tickets, visit Vortex's website at vortexrep.org.
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