Justin Lawrence Barnes (Photo by Brian Graves)
Reviewed by Madison Mellon
The Road Theatre Company
Through March 2
RECOMMENDED
We live in a tumultuous political and social climate, where many have been emboldened to drop their mask of civility and give in to their worst impulses. Sleeping Giant, currently playing at The Road Theatre Company, explores the uncertainties, fears, and paranoias of the current moment through the lens of sci-fi and horror. The show is largely an effective, powerful allegory, using a blend of dark humor and supernatural elements to reflect the uneasiness many are currently feeling in this country.
The piece is not structured as a strictly linear narrative, but instead features a series of vignettes in which a cast of four actors play a variety of colorful characters. When a young couple sets off a firework display near a lake, a massive, mythical monster awakens. The lake monster’s power grows, influencing more and more people as time passes. Some join a cult to worship it, some sink into depression and avoidance as disturbing stories fill the news, and some simply attempt to flee.
Written by Steve Yockey, Sleeping Giant is cleverly constructed and never loses momentum or intrigue. The various vignettes become increasingly enmeshed as the story progresses, with seemingly disconnected characters crossing paths. This allows the tension to build effectively as the growing threat of the lake monster draws these characters towards their inevitable destinies.
But the ending of the play does begin to lose focus. It draws from such politically-minded science fiction as Invasion of the Body Snatchers, but its final message does not have quite the same bite or sharpness. While it is never good to hit the audience over the head with allegory, Sleeping Giant could have been more specific and pointed with what it is trying to say about our current times. That being said, the ending remains compelling and satisfyingly ties together all of the story’s many narrative threads and characters.
The cast is strong, effectively balancing a sometimes campy tone with more genuinely unsettling and serious moments. Although each actor plays multiple characters, they fulfill an overarching role in the story: The Messenger (Justin Lawrence Barnes), The Convert (Andrea Flowers), The Raconteur (Eric Patrick Harper), and The Naif (Jacqueline Misaye). Each character feels distinct and fleshed out, and there is never any confusion despite the various intersecting plots. Flowers is a particular standout as a cultish zealot who wears a series of ridiculous fascinators (not hats).
The design is cohesive and polished, and makes full use of the small space. The set (Katrina Coulourides) is relatively static but full of details, and allows for quick transitions between many different locations. There is a particularly striking effect during the play’s climax that heightens the impact of the scene. There is also frequent use of projections (Ben Rock) which reinforce the location without feeling obtrusive or overused. Credit must also be given to sound designer David B. Marling, who helps establish the growing threat of the lake monster through distorted voices and other effects. Each element of the production design works together seamlessly to establish the tone of the piece.
Sleeping Giant is an ambitious and well-executed production that’s frequently thought-provoking and leaves a lasting impression with its unsettling atmosphere — a darkly humorous yet reflective exploration of our current anxieties.
The Road Theatre Company, 10747 Magnolia Blvd., North Hollywood; Fri.-Sat., 8 pm; Sun., 2 pm & 8 pm; thru March 2. https://roadtheatre.org/event/sleeping-giant/ Running time: 80 minutes with no intermission.
