L to R: Arika Thames, Jasmine Proctor, Natalie Cutcher, and Ricky Drummond. Photo by DJ Corey Photography.
Faction of Fools Theatre Company specializes in a type of theatrical practice known as commedia dell’arte. Most prevalent in Italy during the Renaissance, this art form leans heavily on stock characters, masks, physical comedy, and ensemble acting—all elements perfectly embodied in Faction of Fools’ latest production of Jen Silverman’s “The Moors.” Ostensibly a period piece derived from conventions typical of Victorian novels, most notably those of the Brontë sisters, the play is really anything but. Silverman actually characterizes “The Moors” as a commentary on “the way that women are seen—in our current cultural moment.” Indeed, the playwright’s use, and then subversion, of certain tropes and conventions does strikingly put the lens squarely on the treatment of women and their resistance to such oppressive attitudes. This is where the play takes a whimsically fun and somewhat outrageous turn.
…an incredibly talented cast matched by a stellar creative team and crew…Francesca Chilcote’s direction…is mesmerizing.
The play begins with the impending arrival of the new governess, Emilie (Jasmine Proctor). For whom she is meant to be a governess, no one seems to know. How exactly she was summoned is also cloaked in a bit of mystery. Awaiting her arrival are the two sisters of the manor, Agatha (Arika Thames) and Huldey (Natalie Cutcher). On the surface, their relationship is a love/hate one—more often than not, it seems more glaringly hate/hate than anything else. Rounding out the group in the parlor is the maid, Mallory/Marjory (Rebecca Ballinger). She assumes a different persona depending on what part of the castle she is cleaning and from what malady she suffers. It is the dynamic between these characters, the way in which the physicality of their conversations embodies the emotions that are deeply palpable if unspoken at times, and the playful intrigue of the masks (by Tara Cariaso of Waxing Moon Masks) that elevates this production in a way that perhaps the playwright hadn’t quite foreseen.
A parallel story involves the family Mastiff (Ricky Drummond, and in the performance I attended—due to an unforeseen circumstance—the part was played by Seth Langer in Act 2) and a Moor Hen (a seemingly effortless performance by Mary Myers). It centers on the unlikely, if not potentially ill-fated, friendship that develops between these two. While you can infer some entertaining connections between the storylines, I found this a somewhat slower dramatic piece of this play’s puzzle. However, the masks and extravagant playfulness of the actors’ movements and interactions keep you engaged.
The plot winds its way into a rather surprising series of twists and turns which help the play do exactly what Silverman specified—revisit the way in which women are seen in our current cultural climate. Alliances form, both of a romantic and strategic nature, and secrets are revealed—not the least of which is the true status of “Master Branwell.” In highly comic fashion, the contents of Huldey’s precious diary are at last disclosed.
Faction of Fools has assembled an incredibly talented cast matched by a stellar creative team and crew. As the sisters, Thames and Cutcher perfectly embody their assigned roles, and yet do so in rather unpredictable fashion. It is exciting to watch their back and forth, their clever jabs, and gradual coming undone. Cutcher, especially, is quite deft at taking the audience on her rollercoaster ride of crazy-meets-coy. Her final musical number is pure triumph. Proctor’s seeming softness as Emilie is fun to witness as juxtaposed with the sisters’ demeanors. Her reassuring and down-to-earth portrayal anchors the chaos of the script. The standout here is Rebecca Ballinger as the maid. Her portrayal of Mallory/Marjory isn’t just laugh-out-loud engaging, but it also adds layers to this genre-bending production that would be sorely missed had Ballinger not had the kind of handle on this character that she does.
The magical sleight of hand that is Francesca Chilcote’s direction—given the sheer number of entrances and exits, along with the constant, purposeful and electric movement—is mesmerizing. It is seemingly impossible to try and wrap your head around how Chilcote pulls this all off. No doubt, the production team is an integral part of the magic act. Set design by Johnny Weissgerber makes the moors come alive. Music direction by Kathryn Zoerb and sound design by Kenny Neal add that deep haunting quality that any good mystery needs, and the lighting by William K. D’Eugenio takes us even further into the heart of this gothic-inspired world. Alison Samantha Johnson’s costumes are the perfect finishing touches in creating this Victorian-era setting intended to explode the boundaries of Victorianism itself. This was the first production I’d seen by Faction of Fools, and it certainly will not be the last.
Running Time: Two hours and 10 minutes with one intermission.
Advisory: Contains adult content, violence, loud noises, and strobe lighting. Recommended for ages 13 and up.
“The Moors” runs through August 10, 2024, presented by Faction of Fools Theatre Company at the Capitol Hill Arts Workshop, 545 7th Street SE, Washington, DC 20003. For more information and to purchase tickets, go online.
