October 28, 2009 Arts+Movies » Theater

Mauritius puts its stamp on dark comedy 

The Bleak Shall Inherit the Earth

by Jon Santiago
click to enlarge The Postage stamp collector rings Twice: William Haden and Katie Huard in the village playhouse's Mauritius
  • The Postage stamp collector rings Twice: William Haden and Katie Huard in the village playhouse's Mauritius

Mauritius

Oct. 29-31, Nov. 6, 7, 12-14 at 8 p.m.; Nov. 8 at 3 p.m.
$25/adults, $23/seniors, $20/students
Village Playhouse
730 Coleman Blvd.
(843) 856-1579
thevillageplayhouse.com

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You may have cast them a glance and wondered how they stay in business: those drab little holes-in-the-wall that specialize in comics or vinyl records, used books or musical instruments, coins or ceramic-somethings.

From the sidewalk, it's clear they're not in business to indulge your idle curiosity. They're more like halfway houses for souls possessed, the sort of folk Nick Hornby summed up in High Fidelity — "They're as close to being mad as makes no difference." And in Theresa Rebeck's dark comedy Mauritius, they are five quirky misfits brought together by a pair of priceless postage stamps.

This Village Playhouse production, directed by Paul Whitty, opens on the dingy interior of a stamp shop owned by Phillip (Nat Jones).

The set itself deserves mention — a clever design that might be a Lemony Snicket pop-up book. In dull browns and dim lighting, it captures the wonderfully dreary inertia of the shop's singular obsessions. Dennis (William Haden) is the loiterer-in-residence and proof that any bright spot in their lives will have to fight its way to the surface. That battle begins when young Jackie (Katie Huard) wanders in clutching a stamp collection that Phillip can't be bothered to evaluate. It's Dennis who steps up and discovers the hidden treasure in that binder. And it's Dennis who'll jump to the head of the class if he can broker a deal between Jackie and a wolf named Sterling (Dave Reinwald). Perhaps the only thing standing in the way of the score of a lifetime is Jackie's half-sister Mary (Keely Enright). Having escaped her nightmarish family years ago and only returned for her mother's funeral, Mary believes the stamps belong to her.

Playwright Rebeck gives her otherwise listless characters plenty of room for bad judgement and even worse behavior, while the play hits just enough of a nerdy philatelic note to reveal the depth of their hidden passions.

Nat Jones is utterly convincing as the stamp dealer who has been betrayed by life on a fairly regular basis and by Sterling in a long ago dust-up that is too painful for Phillip to detail even when Dennis presses him to authenticate the stamps he hopes Sterling can be persuaded to buy. It won't take much persuasion. Reinwald's Sterling is the very model of a shady customer, played as an often mirthless egoist keen on the thrill of acquisition. Reinwald's best moment on stage finds him fantasizing about touching the prized stamps: objects of desire so sublime they inspire him to transcendent eloquence. Even so, to him, people like Jackie are a means to an end, easy prey.

But Huard's Jackie, once negotiations begin, proves her mettle. Huard manages to create a character who is emotionally blunted by her abusive upbringing and yet alive and hopeful. In a scene with Dennis, she describes her love of the Elfquest comic books. She's giddy as a little girl when she does, but then she's suddenly brought up short by having revealed so much vulnerability. It's a beautiful sequence.

William Haden once again demonstrates his talent with slick, quick-witted, verbal characters. He's equally persuasive portraying Dennis' predatory instincts and his character's dusty collection of selfless virtues. Haden is charming enough to make you want to credit his character with finer instincts than he may, in fact, possess.

In all this, Jackie's sister Mary is the odd one out — she has fewer lines and, like some elected officials, seems to exist mostly to drag her heels, insist on being heard, and impede everyone else from moving forward. Enright gives her just enough grit to be an obstruction and just enough guile and self-centeredness to make her character an amusing blight on the proceedings.

Like those grungy little shops, Mauritius may appear unwilling to indulge your idle curiosity, but at heart, it's inviting.

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Thanks Avid!

Posted by DangYankee on October 29, 2009 at 2:09 PM | Report this comment

I understand why Frost/Nixon wasn't reviewed. I understand the budgetary constraints that we are all feeling now. I simply wanted to make sure that credit was given to this wonderful company. Yankee, since you are so interested, I think my top list since I've been in Charleston off the top of my head would be:

The Tragedian (Pure Theatre)
Frost/Nixon (Footlight Players)
Dinner With Friends (Village Playhouse)
This Is How It Goes (Pure Theatre)
Killer Joe (Pure Theatre)
Angels in America (CofC)
Wit (Charleston Stage)
Take Me Out ( CofC)
The Shape of Things (Village Playhouse)
The Boys Next Door (Midtown Productions)
The Drawer Boy (Footlight Players)
Anton In Show Business (CofC)

Posted by AvidTheatreGoer on October 29, 2009 at 12:52 PM | Report this comment

Avid. I'd love to see your list of top ten - 20 shows you've seen in town over the past 30 years. Avid theater goers are rare.

Frost/Nixon was most likely not reviewed in this issue due to budget cuts in the Arts section at the CP -or- the fact that so many shows opened in the course of a week.

Posted by DangYankee on October 29, 2009 at 9:58 AM | Report this comment

I agree, this review was very nicely done. Finally understanding the inner workings of a theater production, and how to visualize and capture its essence. As always Jon, you rise to the occassion. Hmm.

Posted by onetruemuse on October 28, 2009 at 2:27 PM | Report this comment

Great review! I had the privilege this weekend to see two incredible shows, Mauritius and Frost/Nixon. I am so glad that Mauritius got such a wonderful review. The show deserves it! I am however extremely disappointed that Frost/Nixon was not reviewed in this week's City Paper.
Both of these shows were fantastic, but Frost/Nixon was one of the best shows I've seen in Charleston in 30 years. The lead characters are portrayed by two College of Charleston professors, Jamie Smithson (David Frost) and Mark Landis (Richard Nixon). They are surrounded by a very talented ensemble among whom Boogie Dabney, Josh Wilhoit, and Christian Self give standout performances. Landis fully captures many of Nixon's vocal inflections and mannerisms but he has created a full and vibrant character that is his own interpretation, not an impression. Smithson has become a regular on Charleston's stages, but this may be his finest work yet. The simple set by Richard Heffner draws your eye to the characters that these actors have created, and the beautiful costumes by Ellen Iroff accentuate each performance bringing a splash of color to the stage. Director, Robbie Thomas (whom I've heard is only 25), has created a powerful production that flows flawlessly from beginning to end. Normally reviews don't seem to give directors enough credit but Thomas's work is evident throughout the piece.
Everything mentioned in the above review for Mauritius is true. It was an excellent show, but to not give Frost/Nixon the credit it deserves is criminal. The Footlight Players are finally producing relevant theatre again and I can't imagine why the City Paper wouldn't want to promote that.
Great job to both cast and crews. Theatre is definitely alive and well in Charleston!

Posted by AvidTheatreGoer on October 28, 2009 at 11:40 AM | Report this comment

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