MICHAEL UPTON
Review Correspondent
The Sheridan Bigler Theater has transformed into a scenic hotel in 1940′s Mexico with the production of Tennessee Williams’ “The Night of the Iguana.”
Opening night brought a sizable audience last Thursday to see a quintessential play from one of America’s greatest playwrights.
I was immediately transported to the scene of a resort hotel — of which, it is hinted, is less resort and more cheap hotel — complete with thatched roof, hammock, and cocktail cart. I especially applaud the use of subtle smoke to create the heavy air of a tropical destination. It is here, in this courtyard with a view of the ocean, most of the action in “The Night of the Iguana” takes place. Enter T. Lawrence Shannon, a former reverend who has now taken a job as a tour guide and is handling himself miserably. Shouting, he comes on stage.
Shannon is played by Tim Riggs, the former face behind the theater’s summer camp program. Riggs’ performance is bigger than his stature, as his sweaty and magnanimous Shannon opens up before the viewer — first as a complaint-filled blowhard edging on womanizer and later as a man in deep moral despair. Shannon arrives at the hotel to find his friend Maxine Faulk (played by Tricia Corcoran) running the inn as a new widow. At first, I suspected Corcoran was incorrectly cast for the role of the sultry and carnal Faulk, but getting beyond the characters brash and loud behavior, reveals a sexy woman willing to unleash her feminine allure at any turn. Although widowed, she is not alone at the hotel as the walking punchlines of Pedro (Austin Trynosky) and Pancho (Jose Mangual) serve as both young lover and less than helpful hotel attendant. The ultimate comedic relief comes from the visiting Fahrenkopf family, who interject absurdity with their Nazi sympathy, overbearing stature, and less than stylish dress.
Even with its bits of quick wit, “The Night of the Iguana” should not be confused with a comedy. Chock full of word play, the performance is both merry and deep. Shannon’s soul is near peril and the one to march him back from the edge of collapse is Hannah Jelkes. Jelkes, a spinster artist from New England, is traveling the world with her grandfather, Nonno, a poet of some renowned. Jelkes is beautifully portrayed by Kristie Ohlinger, who delivers a subtle and sublime rendition of a woman who knows more than her years and feels deeper than the ocean she overlooks from this hotel in Mexico. She is stranded, but not without pride. Nonno (John Kleimo), as a side character, adds a bit of humor and a depth of understanding to the entire story as it unravels; Kleimo has the commanding voice of a seasoned poet.
Also caught in this mess of humanity is Miss Judith Fellowes, the head of the entourage from a Christian college who is currently —and now reluctantly — being shown the sights of Mexico by Shannon. Fellowes is played by Elizabeth Pattey, who was last seen on the Ephrata stage in June with Ohlinger and Corcoran in “Blithe Spirit.” Rounding out the cast is Hannah Smith as Charlotte Goodall, the head-over-heels minor previously involved with Shannon; Brian Viera as Hank the bus driver; and Rob Adams as Jake Latta, Shannon’s replacement tour guide.
The speed of the delivery from Riggs as the main character is utterly captivating and creates a chaos between hilarity and humility as he works through his inner and outer demons. Early on in the play, he begs of Faulk, “Don’t complicate my fever!” It’s already complicated, my friend. Writer Williams’ ability to reach into the depth of the human soul and wrangle feelings not often aired, is paramount to “The Night of the Iguana.” Like most of his plays, “Iguana” follows a twisted path into the depths of humanity, touching on our errors, focusing on faults, and allowing for self-solution. Such as life, there are a few great laughs along the way.
I have to admit I feel the performance missed the dynamic and the over-exaggerated contradiction between the three women and the one man. Although the characters were extremely strong individually, the only great connection came between Shannon and Jelkes. Faulk and Fellowes were portrayed well, but became lost in the dynamic between actors Riggs and Ohlinger.
I also thought I found an error in this production of “The Night of the Iguana” when I noticed the use of matches from a matchbook to start a tea kettle. Upon further review, my youth misled me. It turns out matchbooks may have been in wide use in1940′s Mexico. (The first matchbook was produced in 1889.)
“The Night of the Iguana” is a tale of woe and wonderment beautifully captured by the cast of actors on the Sheridan Bigler Theater stage.
“Nothing human disgusts me unless it’s unkind,” wrote Tennessee Williams. That is the sum of “The Night of the Iguana.

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SPORTS COCALICO

SUSAN LINDT
Review Correspondent
On Thursday, while floodwater eased into the basement of Ephrata Performing Arts Center like a diva sauntering onstage for her last curtain call, more than a few nervous stars waited for word about whether the show would, could, go on.
But when Mother Nature stages her own showstopper on your opening night, one must beat the old lady at her own game.
The modern classic “Equus” opened a day late but with more drama than even Mother Nature could conjure – both onstage and off.
“I had a moment…I almost cried,” said Ed Fernandez, EPAC artistic director and the lead of “Equus.”I was at home and I couldn’t get to the park but I knew the water was rising. Later that night, I was exhausted mentally. Then I looked on Facebook and saw everyone was offering to rush to the playhouse with pumps to cleanup. I almost broke down and cried because I realized how much people love the playhouse. It’s good to realize what you have.”
Although the playhouse suffered some minor damage to basement flooring, the show went off without a hitch and the drama of Peter Shaffer’s award-winning 1973 play actually paled the chaotic scene outside Sharadin Bigler Theatre for 2 ½ full hours.
“Equus” is a mystery, although not your traditional mystery. When 17-year-old Alan Strang (played by Jeremy Ebert) lands in a psychiatric hospital after intentionally blinding six horses he seemed to worship, psychiatrist Martin Dysart (played by Fernandez) must find the cause to find a cure – that is a means of making the boy “normal” enough to coexist in society.
Of course, the journey is painful for the boy, who must confront the horror of his actions that appalled his bucolic English community. He delves into his erotic obsession with horses that is comingled with religious fervor. Through sessions with his doctor, Strang reveals to the world and to himself what compelled him to his senseless act.
But “Equus” is largely about the psychiatrist’s journey, as well. Heavy with monologues, “Equus” is Shaffer’s most successful play that he designed as a modern form of the Greek tragedy. Dr. Dysart questions why we become who we are, what charges violent actions falling outside societal norms, and whether it’s morally just to force his patient into a model of correctness defined by societal standards.
“A show like this has so many scenes that people really take from it what strikes them or touches them,” Fernandez said. “The greatest thing about this play is that it questions what makes us what we are. We all experience things in life, but why do certain moments make us who we are? Why are we obsessed with what we’re obsessed with? Nobody really knows.”
“Equus” is a cerebral, erotic show that earned Shaffer the Tony Award for Best Play in 1975 and also earned several drama awards when revived on Broadway in 2009 with actor Daniel Radcliffe starring in his first adult breakout role since the Harry Potter series.
Predictably, most of the press regarding the revival centered on Radcliffe’s appearance in the buff. And Fernandez said that is typically the case with any show delivering nudity, as “Equus” does. However, Fernandez said the licensing company doesn’t give any creative leeway for the nude scene.
“It’s contractural. The scene must be done in the nude or you can’t perform the show,” Fernandez said. “If you do it any way other than totally nude, you could be shutdown or sued. (Licensing companies) are getting very tough on that nowadays.”
Fernandez said usually the hardest part of staging “Equus” is getting one male and one female actor willing to take it all off in the name of theater. Fernandez said even that was relatively easy. Eighteen-year-old Ebert returns to EPAC’s stage from this season’s earlier production of “13.” Megan Baum, who was last seen in EPAC’s “Of Mice and Men,” plays Strang’s love interest, Jill, in “Equus.”
And while rehearsals for shows with nudity are often closed and gradually opened to other actors and production staff, Fernandez said his cast took a matter-of-fact approach from the start.
“It was a nonissue to us,” he said. “Even in rehearsals, Megan and Jeremy were like, lets get started. We had no problems with it at all.”
EPAC’s is an interesting cast with some new faces and some others that are a rarer find on Lancaster stages these days. Look for Rita Clarke’s EPAC debut as Hester Salomon; Elizabeth Pattey in a strong performance as Strang’s mother, Dora; John Rohrkemper playing Strang’s creepy dad, Frank; and Michael Sevareid, a veteran of Broadway and Off Broadway productions and a retired Elizabethtown College theater professor in the role of Harry Dalton.
Although EPAC’s staging is relatively simple, as it usually is for productions of “Equus,” this show calls for six horses, which play no small part in the plot. Fernandez used classic “Equus” effects and costuming rented out of New York City to wonderfully create the effect of massive animals juxtaposed with the boy who worships them. They are powerful scenes worth a watch.
While this is no “Willy Wonka,” Fernandez said he doesn’t want audiences to by daunted by the notion “Equus” is not approachable because it’s more thinking than action.
“I don’t want people to be scared of ‘Equus’ because they think it’s too intellectual ,” he said. “It’s moving and erotic and sexy. It’s very moving and real.”
Aside from nudity that might make this an uncomfortable experience with the kids, “Equus” would be a snooze to the younger set. So get a sitter and enjoy this heady stuff that makes it OK to wonder what kinky things your neighbor’s up to – and why.