12
Oct
2010
Author Neil LaBute is known, and respected, for pushing the envelope with his plays. The Richmond Hill Barn Theatre generally produces plays that are comparatively safe in theme and style. So it's a somewhat surprising thing to see LaBute's The Shape of Things on the barn-theatre stage - and, I think, a very good thing, too. Because while some of the play's elements are offensive, its central themes of art, relationships, and what we're willing to do for love are well worth examining. And happily, they're examined here in a production that is also thoughtfully staged and performed.
On August 17, the 
When the Prenzie Players made their 2003 debut with Shakespeare's Measure for Measure, they did so at Rock Island's Peanut Gallery, which didn't have a proper stage and could only seat, at maximum, 40 people. The show had an inadequate budget (between $200 and $300), a run of only two performances, and no word-of-mouth; Prenzie's founders - Cait Bodenbender, John "J.C." Luxton, Aaron Sullivan, and Denise Yoder - had every reason to expect Measure for Measure to fail.
Jeremy Mahr may be our area's most effortlessly relaxed performer. There isn't even a trace of actor's phoniness in his line readings or physicality; there's so little artifice in Mahr's portrayals that he can easily fool you into thinking he's not acting at all. Mahr has a beautiful hangdog expression - he looks as if he's endured continual disappointment, and is prepared to endure more - and his focus is concentrated and imploring. Yet when he smiles, the warmth that exudes from him is a little overpowering; he acts like a man embarrassed to be receiving the happiness he deserves. Mahr is a supremely empathetic performer - I've now seen him in three productions since August, and for the life of me, I can't figure out how he manages to do so much while appearing to do so little.
