Over the weekend, we had the opportunity to experience a couple of theater firsts here in Baltimore. First, we attended the theater in a relatively new venue, the M&T Bank Exchange, a space that was a bank a long time ago, three stories tall, adorned with stunning stained glass windows. Today, it is multi-purpose facility, reconfigurable for everything from fashion shows and weddings to corporate events, and, of course, theatrical productions. (It is attached to Baltimore's Broadway touring house, the France-Merrick Performing Arts Center.) The other first was our first production by the professional theater company, Iron Crow Theatre, Maryland's queer theater company. Their definition of "queer" encompasses a broad spectrum of ideologies, remarkable in its inclusiveness. It was their production of the Pulitzer Prize winning Next to Normal that drew us to this unique group.
While this is not the first local professional production of this show we've seen, it is, unfortunately, the most uneven. Don't get me wrong, here. The fact that they are even attempting this complex piece is admirable. And where it is strong, it is wonderful. But there are a few rather glaring things that take what would otherwise have been amazing down to uncomfortably cringe worthy. First, Natka Bianchini's direction is uneven, with awkward scene transitions that cause a lack of flow, and still other times where side scenes detract from the main action. Yet, there are other times where the staging is inventive and interesting, including the use of a variety of projections and video (designed by Chris Carcione) that offer insight into the thought processes of the struggling main character, and add depth to the ethereal character of Gabe, her son. But then there are moments that feel more community theater than professional - an ensemble (more on them in a minute) employed to fill the stage yet clearly struggling to find their purpose for being there, and little things like having chairs on wheels that the actors lift up to move rather than roll them. Likewise, Tiffany Zellner's costume design lacks any cohesiveness and feel more like last-minute thrift shopping than any sort of character development.
On the considerably brighter side, what there is to recommend here is really outstanding. The small band, led by Michelle Henning, plays this challenging score extremely well, too. Given the sheer size of the space, the sound design could prove difficult, yet Zach Sexton's efforts are laudable, with no balance issues and clarity throughout. Similarly, Thomas P. Gardner's lighting design creates both intimate moments and expansive lighting that somehow includes the audience and makes full effect of the huge space. It also supplements Bruce Kapplin's interesting scenic design which incorporates Carcione's video design. The design elements here are sharp and professional.
Despite its unevenness, I am so glad to have seen this performance of one of my favorite pieces of musical theater, and especially having discovered an important new (to me, anyway) local company. I already look forward to seeing their future productions.
📸: W. Freeman
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