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Regional Reviews: Minneapolis/St. Paul The Woodsman Also see Arthur's reviews of The Manchurian Candidate, Death Tax, Huck Finn, Into the Woods, and Mary Poppins
In this context, Theatre Pro Rata has mounted The Woodsman, Steven Fetcher's topical play. Fetcher has created Walter, just released from 12 years in prison for molesting 10-12 year old girls. Aside from prison time, his crimes have cost Walter his marriage and most of his friends and family, in particular his sister Annette and niece Anna. Only Annette's husband Carlos maintains a relationship with Walter, with distant hope of a reconciliation between Walter and Annette. Walter has secured a warehouse job and an apartment across the street from an elementary school, just barely over the 100 foot distance Walter is required by law to maintain. It is the only apartment that he can afford, and whose landlord will rent to him. He also has a therapist, Dr. Rosen. Rosen, as Walter calls him, suggests Walter keep a journal, and this becomes a device that allows us to hear Walter verbalize the anguish he lives with, fears and memories he is unable to express to Rosen or anyone else. At the warehouse, Walter connects with Nikki and they fall into a relationship. Nikki perceives that Walter is damaged and haunted by a dark secret, but she believes in his innate goodness. In contrast to Nikki is Walter's parole officer Officer Lucas, whose belief is that Walter is hopelessly evil. Lucas is waiting for Walter to screw up and be tossed back in prison, which is the typical path for sex offenders. Lucas cruelly berates Walter, both for what he has done in the past and what he will do in the future. From his second story window, Walter looks into the schoolyard across the street and observes a stranger he calls "Candy," a well-dressed, solidly build man who watches boys—"the pretty ones," Walter notes—and offers them candy. Walter knows what "Candy" wants all too well. As "Candy" become bolder, Walter seems both sickened and stimulated by the other man's subtle move and a boy's hesitant response. In spite of his efforts at restraint, and perhaps emboldened by "Candy", Walter finds himself drawn to following a young girl to the park. Her unexpected response to Walter, and his to her, offers a glimmer of hope, the possibility of beating the odds and finding redemption. The most compelling and believable connection in the play is between Walter and Robin. Robin's initial discomfort is totally real, as is the manner in which she becomes at ease with Walter, as he gradually charms her in a manner that seems at first safe and protective. Their conversation rings with the most truth of any in the play. Indeed, Walter behaves in this relationship as an adult who is investing—however misguided the manner—in another person. This is when Walter comes to life. In contrast, with Rosen, Walter behaves like a pouting child, muttering one-word answers to Rosen's admittedly clumsy attempts to draw him out, and taunting when Rosen shares something of himself in the hopes of lowering Walter's defenses. With Nikki, Walter seems so inept and ill-prepared for an adult relationship that the two seem to be engaging at different planes, and the fact that they manage to connect stretches credibility. The other relationship of note is between Walter and "Candy." "Candy" and the boy on whom he preys are depicted using stick puppets behind a screen, silhouettes that clearly show us what is happening while maintaining abstract identities. Walter makes no contact with "Candy," who is totally unaware of being watched. As Walter describes what he sees and what he imagines "Candy" to be feeling, Walter is grappling with his own past, and perhaps his present. Adam Whisner portrays Walter as hard to like, but so wounded, with such pathos, that we pity him and almost overlook the wounds he has inflicted on others. We feel his anger, his fears, and his shame. Lillie Horton gives a wonderful performance as Robin. Timid and guarded at first, she is vulnerable to Walter's gentle interest in her. As she reveals her own anguish, we see both the hurt and the protective layers she uses to endure her suffering. Ben Tallen as Dr. Rosen comes across as smug, ego riding high, and lacking empathy. He makes Walter's resistance to a therapy seem very sensible. Katherine Kupiecki's Nikki is blunt and good-hearted, exuding a working-gal sexuality that is likeable, but seems at odds with Walter's wounded boy persona, making it hard to understand her commitment to him. James Rodriguez as brother-in-law Carlos, and William Goblirsch as Officer Lucas both give solid, believable performances in roles that shed light on the ways in which Walter is trapped and judged. Performed with no intermission, the play is comprised of many scenes, but these do not build upon one another. For most of the play, Walter is emotionally treading water way over his head, so that rather than change or progress, there is malaise. Still, director Erik Hoover keeps the play quickly paced, moving fluidly from one scene to the next. The simple set and costumes provide the needed visual elements. Julia Carlis' lighting reflects Walter's inner turmoil, and especially draws us into the profound connection he makes with Robin. Sound design by Matthew Vichlach effectively infuses the air with the sounds of children at play, and of birds chirping in the trees, both important elements in the story. The title of the play has two meanings. Before his imprisonment, Walter was a master woodworker. We see evidence by way of a beautiful cherry table he made as a gift to Annette and Carlos. Later, Lucas cites the Woodsman in "Little Red Riding Hood" who rescues Little Red whole from the wolf's stomach, even after the wolf had devoured her. Lucas tells Walter there are no Woodsmen in real life, that once devoured, little girls cannot be rescued. The Woodsman presents a challenging case study, as we see the depth of Walter's disorder, and the possibility of change. It asks us to consider for ourselves what chance a Woodsman has of rescue: if not of rescuing little girls, of saving himself. The Woodsman continues through March 22, 2015, a Theatre Pro Rata production at the Nimbus Theater, 1517 Central Avenue NE, Minneapolis, MN. Ticket pricing is based on sliding scale, $20.00 - $40.00. For tickets call 612-234-7135 or visit theatreprorata.org. Written by Steven Fetcher; Director: Erik Hoover; Puppet and Set Design: Derek Lee Miller; Costume Designer: Mandi Johnson; Lighting Designer: Julia Carlis; Sound Designer: Matthew Vichlach; Stage manager: Clara Costello; Dramaturg: Christine "Kit" Gordon; Producer, Carin Bratlie Cast: William Goblirsch (Lucas), Lillie Horton (Robin), Katherine Kupiecki (Nikki), James Rodriguez (Carlos), Ben Tallen (Rosen), Adam Whisner (Walter). Puppeteers: William Goblirsch, Katherine Kupiecki, Ben Tallen
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