Extremities
Reviewed by Lara J. Altunian
Dynamo Studio
Extended through September 29
RECOMMENDED
The growing #metoo movement that has taken hold since October 2017 has led to the production of countless plays about the uncomfortable subject of sexual abuse. Written forty years ago, William Mastrosimone’s Extremities explores these same themes by focusing on the immediate psychological repercussions that follow an attempted rape, creating a dialogue that unfortunately remains equally relevant today. Dynamo Studio’s adaptation transcends it from a timely piece to a continuous reminder of the need for societal change, echoing women’s historical struggle through the multi-dimensional characters’ interactions and attempts at remedying what can’t be undone.
Moments after the play begins, Curtis Bechdholt’s Raul bolts into a 1978 East Coast farmhouse (designed by Allison Honeycutt) to a scantily clad Marjorie (Laura Campbell), immediately setting off an air of danger. His constantly shifting excuses to linger in her home ignite a sense of fear in anticipation of the next segment, which erupts violently as the two struggle through a triggering assault scene.
Kenneth Merckx’s fight choreography is bold and graphic without heading into explicit territory. Its realism jolts the audience into feeling Marjorie’s terror, making the evolution of her emotions palpable with every speech and extreme decision she undertakes following her survival of the event.
Campbell is electric in her delivery, playing opposite her tricky predator and two confused roommates, whose later arrival both hurt and help the unfolding circumstances. Bechdholt’s portrayal of the charming and unshakably creepy attacker adds an appropriate layer of complexity to the plot, which the three girls navigate differently. Each adds a contrasting perspective to the turmoil, their positive and negative voices making it nearly impossible for them to agree on whether to call the police. Cool-headed Patricia (Whitney Anderson) and panicky Terry (Laura Coover)’s conversations with Marjorie mimic the ongoing debate the general public has on camera and in private circles every time an assault case with no witnesses is brought to light. New lies and details alter Pat and Terry’s opinions, causing them to go back and forth between empathizing with both Marjorie and Raul’s situations. Their personal stories become entangled with the truth, dissolving parts of it in ways that are familiar, yet not entirely predictable. Tina Alexis Allen’s direction ensures that viewers are kept on their toes all the way up until the play’s conclusion.
Extremities is a necessary analysis of the full range of human reactions surrounding trauma and rape culture. Honest communication about how little we’ve moved forward in the past four decades keeps the material fresh and valuable. Its approach validates survivors dealing with doubt and shame by putting the audience in the witness stand as silent onlookers forced to watch the madness unfold.
The Broadwater Black Box, 6322 Santa Monica Blvd., Hollywood; Fri., Sep. 7, 21 and 28, 8 p.m.; Sat., Sep. 8, 15, 22 and 29, 8 p.m.; Sun., Sep. 16, 8 p.m.; extended through Sep. 29. (847) 275-3350 or https://www.dynamo-studio.com/box-office. Running time: one hour and 30 minutes with no intermission.
