“The Road to the End” by Bella Panciocco first developed during her senior year at George Mason, is probably among the weightier pieces premiering at Capital Fringe this year. Its subject matter and storyline suggest a metaphysical and somewhat existential journey not only through the stages of grief, but also through deeper understandings of what life and death are about at their core. Panciocco’s premise is clever and, though somewhat predictable, she manages with the sheer emotionality of the script to draw theatre goers into the father/son dynamic that is fueling this road trip.
…Panciocco’s script easily wins audiences over. The pathos and originality of the play’s emotional stakes are very well delineated.
Henry (Aadith Iyer) and his dad Steve (Sage Munson) are heading toward the Grand Canyon for one last male-bonding hurrah. Harkening back to Henry’s youth, this trip is seemingly the duo’s shot to try and redeem a relationship that is otherwise pretty rocky. Cue “Cat’s in the Cradle.” Along the way, they pick up a precocious young hitchhiker, Dabria, (delightfully portrayed by Jessica Nguyen). The hijinks that ensue along the way lays the groundwork for several revelatory moments—particularly where Henry is concerned—seemingly meant to be that lightbulb realization that we are inextricably tied to our past despite how painful or emotionally difficult it is to remember.
This is very much a piece about how we find our way back to those to whom we are most deeply connected. Nostalgic trips, recollections of fond childhood memories, and difficult conversations about what was and what could have been mark the journey upon which Henry and Steve embark. In this capacity, Panciocco’s script easily wins audiences over. The pathos and originality of the play’s emotional stakes are very well delineated.
There are a few thinner moments here that primarily serve as lighthearted, bordering on slapstick, episodes presumably intended to break up some of the ponderous awkwardness that characterizes much of how Henry relates to his father. However, a bit of fine tuning needs to be done inasmuch as the rhythm of the show gets needlessly disrupted by the introduction of beats that don’t necessarily add all that much.
The actors in this Fringe production are certainly working hard to bring the essence of the script to life. In many ways, this is quite a nuanced piece and requires demanding performances that hit every note perfectly and precisely at the right time. That doesn’t quite happen in this production, but the cast definitely deserves a hearty round of applause for their efforts. Bertem Demirtas as the Tow Truck Driver takes the scene-stealing crown in this one. His performance possesses a quirky heft that is truly enjoyable to watch.
Director Megan Gray Lederman makes some interesting choices especially concerning the flashback scenes depicting young Henry (Keaton Lazar) and a younger Steve (Hansin Arvind), also such that include Young Diana, Henry’s mom (Kendall Huheey). The flow and pacing could be a bit tighter, though there’s a fun element to the staging that makes it almost impossible not to be absorbed by the life stories of these characters.
All in all, it is safe to say that “The Road to the End” has not yet reached its final destination. Further development, some strategic editing, and perhaps a refocusing of the storyline in certain sections could certainly help launch this play into a highly satisfying next phase. I am eager to see where the creative team takes this show.
Running Time: One hour and 15 minutes with no intermission.
‘The Road to the End’ runs July 19 and 23 at Theater J, 1529 16th Street NW, Washington, DC 20036. For more information and tickets for the show, go online. For more information and tickets for the festival which runs through July 23, 2023, go to the Capital Fringe website.
