REVIEW: Minna (Trap Door Theatre)

American Premier Is Absurd Entertainment

 Minna 2 

Trap Door Theatre presents:

Minna

by Howard Barker
directed by Nicole Wiesner
thru February 13th (ticket info)

review by Keith Ecker

minna_high_res2 It’s a pompous thing to create and name your own style of theatre. Some might say to do so takes a lunatic. Enter Howard Barker.

Barker is a British playwright who currently heads up his own company, The Wrestling School. The Wrestling School serves as a testing ground for his homemade, self-named theatrical genre, “Theatre of Catastrophe.” This style, according to Barker, “takes as its first principle the idea that art is not digestible. Rather, it is an irritant in consciousness, like the grain of sand in the oyster’s gut.” Furthermore, Barker does not anchor his work in realism or any sort of ideology. He is of the idea that art should be bold and challenging. And boy is his work challenging…and, surprisingly, rewarding.

Minna is a jaw-droppingly complex piece of theater. It bewilders and amazes on so many levels, like viewing a three-ring circus under the influence of some potent hallucinogen. Even as I write this, I find it difficult to describe the small semblance of a plot, yet the emotion the play draws out flows as if I’m currently watching the production. Really, it’s like a nightmare that just lingers with you for days.

To the best of my understanding, the play is about a young woman named Minna (Geraldine Dulex). She and the rest of the characters span two time periods, switching back and forth rather seamlessly and without warning. The first time period appears to be the 18th century. Men wear boots and frilly shirts while women don dresses that accentuate their bottom halves. Two corpses hang in the background—in fact they hang for the entire play, occasionally pleading to Minna, warning her of some fate they wish her not to befall. There is a military man named Tellheim (Kevin Cox) who evokes fear, anger and lust from Minna. A landlord (Derek Ryan) with a case of split personality presides over Minna’s quarters while three women, all named Fransisca (Sadie Rogers, Pamela Maurer and Kinga Modjeska), follow Minna dotingly like shadows.

Meanwhile, the fourth wall is all but obliterated as the Count (John Gray), a stereotypical British fop, takes a seat in the middle of the audience at the start of the show. He hems and haws throughout, making lewd comments in between stuffing his face with fruit and gazing through his opera glasses.

Minna 3 Minna 4

The other time period is more contemporary, whisking the characters away to the mid-20th century. In this world, Minna is a powerful attorney and her antagonist, Tellheim, is on trial. Other characters appear as their parallel selves.

If Barker’s mission was to dash, subvert and corrupt any expectations the audience has of what might happen at any moment within the play, then he is absolutely successful. Randomness abounds as characters act out forced sexual acts, cross dress and occasionally call each other by the actors’ names. It’s a play that doesn’t want to be a play. It wants to be performance art. Yet it is a play, and a damn good one.

All the actors in the production must be commended. The dialogue is some of the most difficult I’ve ever witnessed. Often it has no semblance of reason. It’s seemingly random at parts, yet poignant at others. Often it’s delivered with the mania of a mad man. Yet all actors manage to channel this insanity into something real, something worth watching. No. More than worth watching—something great. This was art.

Minna is the directorial debut for Trap Door ensemble member Nicole Wiesner. Like the actors, she manages to construe something completely insane into a complex, yet digestible, production. Oftentimes every character on stage is doing something, making some face or emoting some feeling. Wiesner consistently manages to convey this without drowning out the point of focus.

Minna is definitely not for all. It’s a bucking bronco of a play that tries hard to shake the audience. But come prepared for the absurd, and hold on tight. It’s well worth it.

Rating: ★★★★

minna-head

Cast: Kevin Cox, Gary Damico, Geraldine Dulex, John Gray, David A Holcombe, John Kahara, Amber Lageman, Pamela Maurer, Kinga Modjeska, Sadie Rogers, Derek Ryan, and Carl Wisniewski

Director: Nicole Wiesner

Assistant Director: Carolyn Hoerdemann
Stage Manager: Barry Branford
Choreographer: Lyndsay Kane
Makeup Designer: Zsófia Ötvös
Costume Designer: Beata Pilch and Nevena Todorovic
Sound Designer: Jonathan Guillen
Lighting Designer: Richard Norwood
Set Designer: Ewelina Dobiesz
Graphic Design/photos: Michal Janicki
Trap Door Artistic Director: Beata Pilch

One Response

  1. […] contrast to some of the other works that Trap Door has done recently, such as the enigmatic Minna (our review ★★★★), Chaste is much more digestible for a general audience. Although there are elements […]

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: