Review: “Wastwater” (Steep Theatre Company)

Nick Horst and Kendra Thulin/Photo: Gregg Gilman.
Nick Horst and Kendra Thulin/Photo: Gregg Gilman.

Show: “Wastwater”

Company: Steep Theatre Company

Venue: Steep Theatre Company (1115 West Berwyn)

Die Roll: 12

The Wastwater Lake in England contains so little oxygen that it possible to preserve bodies drowned in its depths. This scientific oddity is spouted off by one half of a couple during a hotel tryst that may or may not end in sexual congress. Such is the nature of Simon Stephens’ writing in “Wastwater,” a script that places human connection right alongside the crumbling fact of a finite planet. Steep Theatre Company’s production of the play emphasizes a similar combination of yearning and danger that serves its actors well.

“Wastwater” works as a circular, not linear narrative. The plot is more a triptych of events that reverberate with each other, without the characters ever realizing their connectedness. Each scene takes place near Heathrow Airport, giving a sense of impermanence to every sequence. In the play’s first scene, Harry (Joel Boyd) bids a hard farewell to his foster mother Frieda (Melissa Riemer), who wants him to stay home rather than work to save the Canadian wilderness. In the second, Lisa (Kendra Thulin) and Mark (Nick Horst) navigate whether they will move forward with their affair. In the final scene, Jonathan (Peter Moore) negotiates with Shauna (Caroline Neff) over a delicate and highly illegal travel arrangement.

Joel Boyd and Melissa Riemer/Photo: Gregg Gilman.
Joel Boyd and Melissa Riemer/Photo: Gregg Gilman.

Stephens, now famous for his Tony-winning adaptation of “Curious Incident In the Dog At Nighttime,” works more like a novelist or an Impressionist painter than a playwright. It is only when you step away from his plays, days after the viewing, that you understand what he wants you to see. In “Wastwater,” the tenuous bonds between parent and child, teacher and student, buyer and seller are laid bare. What we do not know about one another is vast, as deep as the deepest lake in England, and that troubles Stephens. Yet he is more successful at digging into missed opportunities and missed communications in the first and third scene, where the thematic ties of parents and children are clear. The second sequence gave me pause, as its incendiary trajectory led Stephens to draw an unbelievable and anti-climatic conclusion. But that is the danger of working more in theme and conflicted image than plot. Clarity is lost, but deeper emotional entanglements can be illuminated.

Director Robin Witt uses Steep’s black box space to marvelous effect in this production. Each scene is blocked differently, with the mother and foster son standing on a rooftop with only a few feet of space between them. Lisa and Mark bound nervously around their entire hotel room. And Jonathan and Shauna move between keeping the entire length of the stage between them and hovering uncomfortable inches apart. Witt thus creates a unique signature in each set of circumstances, where the actors are able to play their relationships memorably and with imagination. She’s generated subtle and engrossing work with the entire cast.

Caroline Neff and Peter Moore/Photo: Lee Miller.
Caroline Neff and Peter Moore/Photo: Lee Miller.

Thulin has the most difficult role by far. Her fluttery nervousness initially tracks as typical for an unsatisfied but ordinary wife. But as her scene progresses, she must convince both Horst and the audience that her desires are more complicated than a simple yes or no would indicate. Smartly, Thulin never falls into pleading or demands; she is as matter of fact as possible, and that goes a long way to clearing up a scene that should really be its own play. On the complete opposite end of the spectrum, Neff dominates the stage as Shauna, using forceful body language and blunt dialogue delivery to dig what she wants out of her charge. I last saw Moore in “Brilliant Adventures,” where he played a smooth and terrifying gangster. Here, he radiates a nebbish Everyman quality, getting the audience on his side, despite the questionable nature of his actions.

Steep’s designers always deliver a cohesive vision, and “Wastwater” is not exception to that trend. Joe Schermoly’s set is sparse, but provides a stage-length window that suggests a roof, a hotel room, and a shady warehouse, all in one. Brandon Wardell’s lighting plays against Schermoly’s smoked glass, evoking planes flying overhead between each scene. And Thomas Dixon’s airplane engines almost rattle the seats. I was uncomfortably reminded of afternoon commutes when the planes bank a little too low over the highway merging into O’Hare.

There is a lot in “Wastwater” that looks and feels familiar. Stephens has said that he writes in order to build faith in the human spirit, but he never excises the unromantic or discomforting truths about life. After all, the lake may look beautiful on the surface, but you ignore what’s lurking underneath at your own peril.

TEN WORD SUMMARY: Tension between infinity/impermanence brought to great life by actors.

DICE RATING: d20 – “One Of The Best”