Theater review: Ira Gamerman's 'Split'

MadLab presents hipper food-for-thought with latest prodcution

By Dwayne Steward

Metromix

MadLab Theater has always brought the funny with its oft-times burlesque and unapologetically controversial productions. But as of late there's been a departure, with the troupe—located downtown on Grant Avenue—presenting a side of stark dramatics with their usual hysterical fare. Sometimes it hasn't quite worked (i.e. summer's "Stripped Away"), but there are times when they do get that tragedy/comedy balance exactly right, as is the case with their current production of Ira Gamerman's "Split," running Fridays and Saturdays until December 20.

"Split" is rife with drama and introspective. We follow 24-year-old Adam, played with brilliant vigor by Philip Hickman, a struggling musician who lives with his mom, as he deals with the complication that is life. He battles a decision to dump his overprotective girlfriend, Ellen, at the request of his therapist (Rachel Wiley) because of her Freudian resemblance to his mother, with Sarah Brunet putting in a stellar showing as both Ellen and Adam's mom.

Further complicating the unconscious spectrum, Adam has two imaginary friends, Mr. Eskimo (Michael Moore) and a ‘90s rendering of Vince Vaughn "circa ‘Swingers'" with Jason Sudy offering a spot on imitation. Adam's estranged ex-girlfriend, Jenny (Erin Prosser), also throws a wrench into the operation when she unexpectedly makes a re-appearance in his life.

The play completely breaks down that proverbial fourth wall, Adam playing the roll of narrator and lead character, navigating between the front of the stage to address the audience and the action taking place at the center. Representations of Adam's psyche are also presented in flashbacks and flash-forwards, starring "fantasy" versions of the characters (Stephen Woosley as Adam, Tay Dreher as Ellen/Jenny). The scenes employ a hilarious television after-school-special vibe and an Australian outback parody as they traverse topics of sex and marital conflict.

The stage itself also plays a major role in the production's success. Lighting and scenic designer Doug Northeim completely recreated the theater, stretching the seating in a 180-degree format around the stage. It effectively complements the play's theme of life as it revolves around Adam.

Jennifer Feather's direction proved inspiring—her visual interpretation of the play brought out the best in the actors. Presented like Adam's thought bubbles, the characters in his life were rolled out on platforms from behind curtains with spotlighted performances whenever he'd mentioned them, adding an enjoyable dimension to the show.

With "Split," MadLab is definitely headed toward the clear alternative to more prestigious Columbus theatre troupes, such as the Contemporary American Theatre Company, as the choice for a younger batch of intellectual, theatregoers looking for a bit of food-for-thought, but with a hipper and grittier filling.