Personal, absurd, character-driven comedy

By KELLYN MERRELL
A Seat on the Aisle

Main Street Productions’ Ripcord, by David Lindsay-Abaire, is a hilarious, emotionally-driven show that grounds us in the reality of our own ability to forgive and connect. Under the direction of Andrea Odle, this play is delivered in such a fun and immersive way that it’s almost hard to believe the striking depth it carries.

When Abby Binder (played by Miki Mathioudakis) is forced to share her room at the Senior Living Facility with Marilyn Dunn (portrayed by Tina Nehrling), she immediately begins scheming to rid herself of the social butterfly by any means necessary. Caught in the middle of this ‘showdown’ is Scotty (Malcolm Marshall), a Resident Aide so funny and three-dimensional that Marshall’s dynamic delivery made him feel real.

(From left) Tina Nehring as Marilyn, Malcolm Marshall as Scotty, and Miki Mathioudakis as Abby. (Photo by Rob Slaven / IndyGhostLight.com)

The pacing of these initial scenes was impeccably balanced, creating a natural atmosphere between the three characters. The chemistry between Abby and Marilyn was beautifully layered. Nehrling’s portrayal of Marilyn was lively, informed, and lit up the stage. Mathioudakis’ depiction of Abby was hilariously relatable and subtly complex.

A brief detour to a haunted house introduces us to a Clown, Zombie Butler, and Woman in White (played by Cameron Ponce, Scott Prill, and Claire Slaven, respectively) – all fun and meaningful characters portrayed by actors who continue to impress in their additional roles throughout the show.

The audience is further introduced to Colleen and Derek (played by Slaven and Prill), a distinctly supportive couple seemingly willing to go to any lengths to help their family. Slaven’s acting was exceptional in every aspect, and Prill played the perfect whiny counterpart. Another delightful addition is the frustrated but ultimately optimistic Lewis (Ponce).

In Act Two, Ponce’s performance as Benjamin was poignant and nuanced, adding context and depth to Abby’s character in a way that was both realistic and heartwarming. Also notable were the costumes by Karen Cones, which seemed to reflect each character’s unique identity as well as their evolution throughout the show. Set Designer Jay Ganz did an excellent job of sourcing pieces that fit with both the aesthetic and practical needs of the show, while Sound Design and Technician Rob Stokes helped create an even more immersive experience for the audience. The lighting was incredibly inviting, with warm sunlight and a beautiful moment of freefall, thanks to Lighting Technician J. Herold.

This show is unique in that it leaves the audience pondering the nature of vulnerability not long after they’re slow clapping at someone’s safe word. The love and soul that was poured into this personal yet absurd show truly shines through the cast’s onstage energy, and I’d highly recommend making it a point to see this production.

Ripcord continues at the Basile Westfield Playhouse, 220 N. Union St., Westfield, through Oct. 13. For reservations and showtimes, call (317) 402-3341 or visit basilewestfieldplayhouse.org.

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