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Zainab Jah and Mark Zeisler in Tranced. (Photo: Megan Moore)
Perhaps a better title for this review might be “How a Single, Stunning Performance Can Save an Entire Production”.
Let me explain.
Tranced is the new play by Bob Clyman, currently having its east coast premiere at the Merrimack Repertory Theatre in Lowell. It is, in essence, a small play with some very big ideas surging through it: undercurrents of psychology, mystery, and political intrigue are constantly bubbling beneath the surface.
In the grand tradition of such modern classics as Suddenly Last Summer, Equus, and Agnes of God, the bulk of Tranced takes place in a psychiatrist’s office, focusing on the give-and-take between therapist and client. In this case, we have Philip Malaad (played by Mark Zeisler), a respected shrink who practices “trancing” (his own brand of much-lauded hypnosis that aids patients in confronting repressed trauma) and Azmera (Zainab Jah), an African graduate student suffering from crippling anxiety attacks and a loss of focus and concentration. It becomes apparent soon enough that Azmera’s pain is rooted in a series of horrific events that took place in her home country, the fictional Guyamba, over the building of a dam in a small village. Brought forth through trance come not only the expected painful memories of Azmera’s past, but also memories of the virtual destruction of an entire population—a mass genocide that has been systematically hidden from the rest of the world by Guyamba’s ruthless government. Malaad, knowing the world must be made aware of this atrocity, enlists the aid of determined journalist Beth (Kimber Riddle) -- and, by extension, Beth’s boss, the racist/sexist/homophobic Logan (David Adkins) -- to help him bring this story to light while maintaining the sanctity of the doctor-patient relationship.
And what ensues is a series of hairpin twists and turns that should leave you reeling.
Unfortunately, they don’t. I almost think Tranced is too big in scope for its own good, biting off more than it can chew, as it were. The explosive dynamics of psychoanalysis, the drama of vastly different characters thrust into battle positions, and the volatile political implications of a Rwanda- or Darfur-like tragedy are just a helluva lot to pack into a single play. Clyman’s attempts are noble, and with the exception of the poorly-sketched Logan and the overload of themes not thoroughly examined, the writing is serviceable.
As is the MRT production of the play. Kyle Fabel’s direction is practical, if not particularly inspired. The set, which alternates between Malaad and Logan’s offices, gives off a slightly funeral home-ish feel, what with its gauzy pleated curtains and plush beige carpeting. A powerful backdrop consisting of a wall of African masks is sadly underutilized. The lighting is sensible and well-planned, making the abrupt shifts between scenes, times, and locations particularly smooth.
The performances by Zeisler, Riddle, and Adkins are fine, too, if pretty by-the-book. Zeisler does a decent job of capturing Malaad’s dry wit and untraceable accent. Riddle has a nice stage presence, though her performance lacks any of the necessary fire that Beth requires. And Adkins does commendable work trying to flesh out and humanize a completely baffling, superfluous, and borderline-offensive character.
But this is okay. All of this is okay, and I will tell you why in two words:
Zainab Jah.
I have had the good fortune of seeing some truly great performances, and Ms. Jah’s work as Azmera gets a top spot on my list. This young actress is a revelation, turning in a stunning, startling, wrenching performance that no MRT audience member will soon – if ever – forget. She commands the stage with a power and presence like few actors I’ve seen; her luminosity fills the theater. She is the only actor in this production who is not only intimately and thoroughly in touch with her character but is also completely real, aware, and alive in every single moment of the play. Ms. Jah is, in a word, electrifying.
And for her performance alone, you should run – do not walk – to the Merrimack Repertory Theatre to see Tranced.
The play is adequate.
Zainab Jah, however, will move you.
For tickets: Visit the MRT website. Tranced runs through March 8.
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