Hot Tragic Dead Thing
Reviewed by Nikki Munoz
The Blank’s 2nd Stage Theatre
Through April 4
Ashley Rose Wellman’s Hot Tragic Dead Thing presents the inner world of two teenagers — one that is intense, ruthless, and very nearly deadly.
The play follows 16-year-old Bekah (Nikki DeParis) who, recovering from a failed suicide attempt, returns home to find that her mother (Marguerite Moreau) has moved in with her boyfriend Greg (Wes McGee). Suddenly Bekah, a social outcast, is sharing a home with the most popular boy at her school, Greg’s son Miles (Reed Michael Campbell). The two teens have more in common than they initially think — namely, a shared fascination with violence and the desire to be remembered for something — which ultimately results in their plotting a mass shooting at their school. Directed by Christopher James Raymond, this production at The Blank Theatre showcases the talent of the cast and crew, who fashion a captivating telling of a complicated story.
Right off the bat, the bi-level stage design (Aaron Francis) offers a jarring, intriguing look into the story that is about to unfold. The upper level is the first-story living room of the house, while the lower level (that which is eye level for the viewer) is the basement. From the opening scene, in which Bekah and her mother face off in the living room, there is an off-balance, strained feeling that correlates perfectly to the overall tone of the play.
Each cast member is stellar and convincing throughout. The two leads, DeParis and Campbell, are especially notable in their vibrant performances. The pair emit a palpable tension in their scenes together, one that is both complex and compelling. Bekah’s visceral pain is arrestingly expressed by DeParis with care and precision. Miles’s trajectory feels natural and is wholly believable throughout Campbell’s meticulous performance.
Raymond’s direction is adept and organic. The buildup of Bekah’s and Miles’s relationship, one that develops from awkward to fiercely intimate, is manifest in the staging. A moment in which Miles examines the scars on Bekah’s neck (from the belt she tried to hang herself with) is especially poignant — foreboding and deeply personal at the same time, much like their budding relationship. This same moment also highlights how the lighting design (Julien Elstob) amplifies the story. Here, the two characters’ shadows appear on the wall behind them, creating an ominous tone that further underscores their closeness by projecting a kind of double image of the pair together.
The production’s sole weakness is the script. For example, it takes a bit too long to get to where Bekah and Miles plot a mass shooting. Some dialogue, especially in Bekah’s monologues, sounds noticeably unnatural. And, finally, the very sensitive topic of mass shootings could be handled with more care. There is a bit too much sympathy for Bekah and her plan to kill her fellow classmates. While the aim, to present a holistic view of how such awful incidents are birthed, is clear, their real-life calamitous results are too downplayed.
Yet, the playwright also manages to pull off a truly startling twist ending, one which is satisfying and fitting. And, given the remarkable talent of the cast and the precision, Hot Tragic Dead Thing is undeniably worth checking out.
The Blank’s 2nd Stage Theatre, 6500 Santa Monica Blvd., Hollywood; Fri.-Sat., 8 p.m.; Thurs., Apr. 2 & 9, 8 p.m.; through Apr. 4 [NOTE: Mar. 20 & 21 performances suspended due to COVID-19]. https://www.theblank.com/. Running time: approximately one hour and 45 minutes with no intermission.
