Pacific Theatre
1440 West 12th Avenue
May 17th, 2024
$40.00 for standard seats
$15.00 for accessible seats
https://tickets.pacifictheatre.org
The Pacific Theatre is a unique venue, indeed. An untraditional but functional design, the stage is in the center of two sides of the audience which face one another. I was greeted with a warm reception as I received my ticket at the box office which always puts everyone in a positive mood for the events to come. Refreshments are available for purchase in the lobby at reasonable prices. The show runs for 80 minutes and
does not have an intermission.
Walking into the Pacific Theatre, I am always awaiting in excitement and anticipation in seeing how they are going to utilize their unique space. As always, I was surprised and pleased all at once of how they designed their set. What is meant to be a cubicle (no walls of course) the office contains a large wooden desk with a lamp atop, a couple of stacks of paper, a picture frame and a laptop. Two chairs oppose one another
against the desk- simple yet elegant in its presentation.
Looming above is a cool lighting design, simulating an average bank’s tile ceiling and fluorescent light humming above- which truly does simulate the office aesthetic. The most stunning part of the set is the contrast on our cyclorama wall. An incredibly beautiful backdrop of the mountains in southern Idaho is seen-this lovely piece will end up playing an integral part in the story of the play. Though the office itself is bare bones, the backdrop is stunning and contrasts the simplicity of an office and the boundless beauty of nature. Alaia Hamer has done a
marvellous job of designing this set.
Before the show began, a brief speech was given by Pacific Theatre’s artistic director (Kaitlin Williams) and the executive director (Jennifer Milly). A gracious thank you was given for attending the theatre’s final show of the season. A welcoming speech like this is always a fine touch to help one make feel comfortable and excited for what is to come. And a fun, enthusiastic speech it was- it caused excitement for the opening
of the 2024/ 2025 season at the Pacific Theatre.
The show dives right into the plot. When the lights go up, our two actors are sat in their chairs, opposite one another in the middle of their meeting. The tone starts somewhat relaxed but serious. Ryan (Rob Salvador) is meeting with a mortgage broker, Keith (Kwesi Ameyaw) about receiving a loan to purchase some land which belonged to his family years earlier. As the meeting continues, the two begin to realize their similarities within their life struggles. Their connection grows deeper and deeper as the two become near friends. But things are not always
friendly between the two- quite the opposite in fact.
As their first meeting goes on, we learn that they are both parents who have significant and distinct struggles. The play spans over several days and then a large piece of time passes by before the final scene change. They begin somewhat guarded and defensive when sensitive topics arise. As time goes on and they grow more comfortable with one another, their defenses also begin to drop, and they become more accepting of their responsibility in some of their struggles. Both of their stories are difficult and can certainly be reflective of some audience members. A fair warning that this show may be difficult at times as the subject matter is tough.
Though there are brilliantly timed pieces of comedy in the show, it is a hard play at times as it really hits in a tough way and genuine way. There is some harsh language as well which match the tones of the certain situations when they arise. The language is once again, real and genuine. The playwright (Samuel D. Hunter) has done a marvelous job of attaching harsh language to appropriate moments of the play and does not make it feel vulgar nor aggressive.
The actors have fine chemistry but not strong. There are moments when Salvador does not feel believable and is forcing a line without it being conversational. Ameyaw however manages to make everything believable and as if he is truly conversing and not awaiting his line but responding to the discussion. Certainly not to disparage Salvador’s performance but it is hard working a two-hander. The actors may not always play off on one another’s strengths. There are several more moments that are powerful and strong than weak and unconvincing. This is a difficult play, and the overall performance is strong. There are no physical scene changes. Instead, they have made an interesting and great choice to go from one setting to the next without ever leaving the desk. The lights briefly go to black; the actors will reposition themselves to show that they have shifted to a new locale. Despite the desk remaining on stage and fully bedecked with all the desktop props, we are
transported to various locations far away from the office itself. Whether it be outdoors and completely different locations or hours later within the same office, the scene changes are snappy, believable and well done. The actors have a great ability to instantly change their tones and moods within the quick scene changes-matching the change in time, scenery and emotion. However, the final scene, we leave the office, and
the beautiful backdrop of the southern Idaho mountains are utilized. And utilized beautifully.
Keith (Ameyaw) reveals a twist mid-way into the show which alters the perception of his character that was originally viewed as a father. Ryan (Salvador) becomes to seem less than honest throughout the process of getting to know Keith and is alternately viewed as an antagonist. These moments are gripping and had me needing to know more and what was going to happen next. Two-handers can be difficult to maintain the interest throughout a conversation between two; this show does not have a single dull moment. There are moments of drinking and comradery and moments of deep, reflective sorrow.
It is a beautiful and strong show with a satisfying, triumphant ending. I left the theatre with a sense of relief, contemplation and content. The playwright, the actors, the set designer, the costume designer (Jennifer Milly) have done a wonderful job of making this production real, genuine, tough, sorrowful and triumphant. The show runs until June 9, 2024, at the Pacific Theatre.
I strongly recommend seeing “A Case for the Existence of God” by Samuel D. Hunter.
