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Regional Reviews: St. Louis Extremities Also see Richard's review of Job
Yes, it's grueling, and yes, it's deeply disturbing at points. But it's also the best thriller yet from this respected company. And it also feels like the birth of the "new woman," in this Reagan-era suspense yarn. As Marjorie, Claire Coffey is constantly reminded (in the play's debut year of 1982) that there is nothing like a "believe the women" movement for her in a case of attempted rape. And nothing as basic as a 21st century cell phone to summon help. It's a galling trap that first ensnared audiences Off-Broadway at the Westside Theatre where Extremities ran for over 300 performances. After Marjorie's initial ordeal, and the harrowing twists and turns that follow, the survivors are ultimately delivered to a very different place. The highly professional Ms. Coffey begins this play as a sort of Sigourney Weaver type, with dark curly hair and a camisole. But the "alien" in question is merely looking to borrow a phone when he arrives on the scene, a ramshackle (I should probably say "expressionistic") New Jersey farmhouse, designed by Rob Lippert. Andrew Woodard is fiendishly phenomenal as the intruder, quickly entrapping Marjorie and then the others, treating them like foolish children, and armed with all sorts of personal information about the trio. It's a common theme in thrillers, but especially effective here. After the initial struggle, the tables are turned and turned again as Marjorie's two roommates come home from work. Lisa Hinrichs is fascinating as the unglamorous and downtrodden Terry, every bit as artfully wounded as Ms. Coffey is svelte and determined as the attack victim. Terry makes her entrance with an ironic joke about being "trapped" earlier in the day by a male co-worker demanding a dinner date, shortly after Mr. Woodard's Raul has been temporarily trapped himself. Lynett Vallejo is outstanding the other roommate, Patricia, who has some legal background as a social worker. And as purely reasoning as Marjorie is, and as nakedly vulnerable as Terry becomes, Ms. Vallejo is caught on the front lines of a sudden civil war. Gradually, all the contradictions jumble up in her brain and she too is knocked off balance by the predator. But I suddenly wished I'd seen more Liam Neeson movies, so I'd know how to process all the rage and revenge fantasies the play stirs up in our heads. Ms. Coffey solves the problem most of the time, as the perfect spirit of vengeance. Although her two roommates provide another kind of skirmish, in act two, as they play "stop and go" with their own grim personal experiences and maddening judgments from stories in and out of court. Again and again, the pernicious nature of sexual assault leaves them all at odds. It's sort of the opposite of a "support group." But you could never have a play this powerful without Mr. Woodard, as Raul. He consistently gives the women something horrific and twisted to play against, every time he opens his mouth. The remarkable Ms. Coffey has a previously undetected coldness in her in this show. And without all that core strength inside of her, the attempted rape scene would be unbearable. The fine sound design is by Justin Been. And the struggle that director Bell weaves through the entire show creates an artfully modulated psychological anguish, relieved only by each character's desperate plotting to find a way out. All that, with full knowledge of the (seemingly) hopeless quest for justice. At least until the final moments. Extremities runs through August 22, 2026, at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis MO. For tickets and information, please visit www.straydogtheatre.org. Cast (in order of appearance): Production Staff: |
