Phillipian Arts sat in the rehearsals for tonight’s two DramaLabs, “Not Heroes,” “Matterhorn” and “Variations on the Death of Trotsky.” Here is a preview of the shows. Not Heroes Directed by Julie Xie ’10, “Not Heroes” depicts the active minds of retired superheroes, just waiting to get back into action and relive their glory days. Over a game of chess, Captain Comet, played by Miguel Montana ’11 with witty humor, and his partner, portrayed by Karl Hardin ’11 with a boy-like enthusiasm, reminisce about the days when they were great superheroes, fighting injustice on behalf of the world. In the midst of their dejection, Captain Comet creates a lively movie sequence for the audience, exclaiming that they could become either the villain or the great hero. Victoria Kent ’12 and Ian Corey ’12 act out the scene for the audience as Captain Comet describes the action. And when Captain Comet and his sidekick encounter real villains, also played by Kent and Corey, they remember that being a superhero is as much about having fun as it is about glory. All of the actors show an unparalleled comedic charm in their challenging rolls, using their words, actions, and facial expressions to tell the story. “After rehearsal, the actors will be out of breath; that’s how much energy goes on [here],” said Xie, the director. “My friend, Laura Wu ’10, wrote [the script],” said Xie. Most DramaLabs are taken from the internet or a collection of published one-act plays. “Not Heroes” is an all-student-run production, with a truly original script and a wonderful cast and director to show off the talents of students at Andover. Matterhorn While Disneyland is the greatest playground for children, it’s hardly the relaxing vacation for parents. Directed by Arianna Chung ’13, this one-act play follows Jerry, played by Andrew Mitchell ’11, and Arlene, played by Keely Henesy ’12, and their marital problems. “They’re in Disneyland with their kids, it’s very stressful and hot and sweaty, and all these emotions that have been building up for a couple of years explode,” said Chung. Although this DramaLab follows some very serious issues, the comedic undertones keep the play light-hearted. “It was a really great opportunity [to act in this DramaLab] because it was a funny, light play, and it was nothing too serious,” said Mitchell. Screams and desperate exclamations are thrown from wife and husband. In the end, this couple resolves their argument, but with an unexpected twist, leading to an ending that’s funny, but not quite so happily-ever-after. Mitchell and Hensey are spot-on as frazzled parents, and their characters’ growing frustration only fuels the show’s comedy. “I just want the audience to laugh and enjoy it,” said Chung. Variations on the Death of Trotsky “Isn’t that the handle of a mountain climber’s axe sticking out of your skull?” Mrs. Trotsky asks her husband. Leon Trotsky, the real-life Russian revolutionary, was murdered on August 21, 1940. According to this play, however, the incident was not quite that simple. Cat Cleveland ’11 (Mrs. Trotsky) and Ryan Canavan ’12 (Leon Trotsky) experiment with different versions of the historical figure’s death. These “variations” are separated by the sound of a bell, and each is more hilarious than the last. The play works on the premise that Trotsky has found an encyclopedia from the future, which informs him that he will die today after being hit with an axe. The story takes multiple paths from this point, yet each one leads to Trotsky’s death in some unexpected way. The plotlines zig-zag from love affairs with the gardener (Daniel Shultz ’12) to the movie Casablanca. Cleveland and Canavan make an outstanding pair. Cleveland portrays Mrs. Trotsky as a matter-of-fact woman, resigned to her husband’s craziness, while Canavan plays a very pompous and melodramatic Trotsky who connects everything back to his grand theories of a classless society. In one variation, the gardener strikes Trotsky with the axe. Before he dies, Trotsky asks him, “Why did you do this?” Looking rather clueless, the gardener responds, “I think I read about it in an encyclopedia,” to which Trotsky laments, “Oh, the power of the written word!” “Trotsky’s definitely a drama queen,” said director Laura Wu ’10. “I chose this script because it struck me as being morbidly funny, which it is,” Wu wrote in an email to The Phillipian. “I think the audience should first of all, be a good sport and laugh appropriately at all the jokes, but also perhaps realize the different forms that theater can take on,” continued Wu. “It doesn’t always have to be a linear plot, and it can be quite nonsensical, yet still send an impressionable message at the same time.” So whether you are a history buff with a passion for the Russian revolution or just in need of a laugh, come check out “Variations on the Death of Trotsky” this Friday.
