ERIC JUKELEVICS

Emily, played by theater senior Kellie Christenson, watches as Blackie (theater graduate student Jake Chappelle) turns from his genetically modified roots through art in "Rain. Some Fish. No Elephants." The Arizona Repertory Theatre's production of the Y. York play runs through Nov. 4.

Monday October 22, 2001

Theatre company's sitcom interpretation near perfect

Oddly-titled satirical comedies ought to distract audiences from the current, constant noise of war-related television newscasts and low-flying bombers. The Arizona Repertory Theatre's performance of the Y. York play "Rain. Some Fish. No Elephants." provides some powerful sitcom-ish diversion.

In fact, the play's plot presents an alternative reality potentially much worse than what we face today.

Set in the present or very-near future, the play peeks into the living room of a nerdy family of four misfits trying to escape dreaded elimination from the warped, post-apocalyptic society they're forced to adapt to.

The family is not succeeding at its adaptation; the members are far too creative and intelligent to succumb to the misplaced, racist whims of a (never seen) police force intent on genetically altering (dumbing down) the human zygote.

The family makes believe, makes art and makes music - activities deemed unacceptable by the engineered leaders of the race. They're trying to change their society for the better, and the end of the play is anything but predictable.

A spoiled, loud-mouthed classmate of the family's disabled youngest daughter (Emily, played by theater production senior Kellie Christenson) is sent to spy on the family, trying to eliminate their genes from the pool. Julia, the spy played impeccably by theater production senior Catherine Kresge, is perfectly cast as a rich, nosy bitch in need of a superiority fix.

Failing at her task, she drops off a "blackie" or slave to find evidence against them in her stead.

Jake Chappelle, the theater arts graduate student playing Blackie, performs his well-developed role with passion (enough that sometimes his lines seem a little rushed).

"Blackie is more of a device than a character - he is an eye-opener to racism," Chappelle said. "Blackie, as he learns through (making) art, opens his eyes and, therefore, the audience's."

The theater graduate students who play the family's parental figures are spectacular, confident actors.

But it is Christenson who makes the play so loveable. She, above all the other cast members, acts from her heart. In the genetically altered, perfection-driven world of "Rain," being disabled or different in any way simply has no place.

"I was assigned this role because the character's disabled, and I am disabled myself," Christenson said. "I look young and can identify with Emily so much - she's strong and enduring, and she can get through circumstances normal people might not be able to handle."

Technical theater senior Megan Hamilton is the play's stage manager in charge of the performance's synchronicity. She ensures the lights and sounds go together and serves as a go-between for director/associate theater professor Brent Gibbs, actors, costumers and set designers.

"If someone needs a pocket sewn into their dress, I'm the one to make it happen," she said. "There was a lot of discussion about the (set's) door - controlled by pneumatics and a series of pullies - and other things - while we were in the rehearsal process," which began in late August, Hamilton said.

Hamilton is the glue that binds this rendition; everything from the sound to the lights to the dialogue is on cue. She is in charge of the perpetual, audible drizzle that, more than anything else, sets this play's mood. The play flows like a river full of spawning salmon - rapidly but naturally - because of her.

Some might deem this play - full of antisocial, antiestablishment commentary - an inappropriate one to perform at this time of national camaraderie, but cast and crew agree on the message they're spreading.

"I think the point this play is trying to make," Christenson said, "is that there is always hope. There's always something humanity can do to make their situation better. It's just up to us to take the first step."

Hamilton agrees.

"I think this is a very hopeful play - the end especially gives the hope of restarting society if it isn't working for you," she said. "That's a very fitting message right now."

The play runs Oct. 23-27 and Nov 1-3 at 7:30 p.m. and has matinees Oct. 27-28 and Nov. 4 at 1:30 p.m. at the Laboratory Theatre in the Fine Arts Complex. Student tickets are $12 with a valid ID and are available through the box office. Call 621-1162 for more information.