Review: Young Jean Lee's 'Church'

Show puts a new twist on analyzing religion

By Dwayne Steward

Metromix

The institution of church and all its social preconceptions and hang-ups are on full display the next couple of weeks as Available Light Theatre Company unleashes Young Jean Lee's "Church" on our city.

AVLT scores with Lee's somewhat revolutionary representation of religion, with the actors completely disappearing in the characters' sincerity as they "preach" to the audience. (Check out AVLT's "Church" trailer on YouTube for a sneak peak of the show.)

Drawing from the New York playwright's childhood of being raised by Evangelical Christian parents (a religion she shunned throughout much of her adult life), Lee presents the outline of a typical 60-minute church service, with overzealous reverends and the expected worship music, but with a slightly different message.

Three female reverends (Acacia Duncan, Eleni Papaleonardos and Kate Watts) and a male head reverend (Ian Short) preach the gospel of social responsibility and condemn political evils (i.e. shunning homosexuals and outlawing abortions). Testimonies filled with talk of unicorns, mummies and chicken blood leave the audience giggling audibly throughout; however, it's soon discovered that the joke may be on us.

It's here, in their portrayal of unwavering conviction, where the actors shine. Each, though "reformed" though the grace of God, has a flaw that eventually gets revealed.

Watts harbors feelings of deep regret, Duncan hides behind the naïveté of blind belief, Papaleonardos feels shame for her decidedly grotesque past as a drug-using alcoholic, and Short's obsession with fantasy keeps him from religious bliss.

What's refreshing about the actors is their refusal to stoop to parody. Short's closing monologue makes you believe the agenda he's pushing is something he truly feels must be followed for the achievement of total salvation.

Other notable aspects include the play's amazing musical numbers, especially the harmonizing brilliance showcased by the main females. A full choral number also joyously closes out the show.

Also impressive were an interpretive dance featuring the entire cast (choreographed by Karl Rogers), the accompanying light show (courtesy of Lighting Designer Ryan J. Osborn) and the stunning church gowns donned by the three females (created by Stage Manger/Costume Designer Michelle Whited).

The ultimate kicker is Lee's motivation. At first glace it looks as if she's simply forcing a liberal agenda through exaggerated doctrine; the characters spouting nonsense with conviction in order to shine a light on the ignorance of blind conservative faith. Is she mocking religion? Or trying to show that belief is relative? Or maybe even commenting on the theater world's often dismissive attitude toward the topic?

It is the inability to answer these questions—and the cast's ability to keep them unanswerable—that make the play phenomenal.

"Church" is in session in Studio Two at the Vern Riffe Center through Aug. 22. Tickets are on AVLT's infamous "Pay What You Want" system. For more information on the play visit the "Church" 2009 Web site, which includes the company's first podcast that features the actors discussing the play's ambiguity and controversial themes. For more on the company visit the Available Light Theatre Web site.