Review: Permafrost's “The High Priestess”
Photo Credit to George Redner
Throughout this last year, theatre makers have been forced to develop new ways to keep creating their art. Some productions have truly risen to the challenge, not just persevering but creating something new and engaging. I'm glad to say Permafrost's “The High Priestess” is certainly one of these. It was a pleasure to watch in a way I have rarely seen since Covid began. It mixes theatrical and cinematic elements, using the best of both mediums and creating a truly dynamic night of theater.
The scene changes are essentially non-existent, thanks to the excellent camera work of George Redner and Amara McNeil, which truly allows the piece to flow, creating a seamless evening. Although most audiences will graciously overlook the often clunky scene changes that are an inherent part of physical theatre, it was a breath of fresh air to be able to dispense with these. The emotional trust of the play was never forced to pause for a moment, and the whirlwind of the cast was in full force. Over all, the cast and crew also made excellent use of other cinematic elements, such as intricate lighting design and much more complex sets than most theaters would typically aspire to.
The company was also able to preserve the feeling of live theater. The actors were dynamic and present, reacting to changes in their environment (planned or otherwise) with a refreshing honesty.
The script follows the remarkable story of Claudia Holocomb and her family. Without giving too much away, it deals with Claudia’s faith, and her recent cancer diagnosis. The script certainly handles this issue in an honest and engaging manner. As someone who’s mother is also dealing with a serious illness, it was fascinating to see such a poignant and genuinely relatable text performed. It depicted the fine line between controlling someone and supporting them particularly well. This is particularly true of Jill, brought to life spectacularly by Iris Rhian who displayed a skillful compassion and touching vulnerability as Claudia’s youngest daughter. Jill continually gets caught in the middle of her mother and her whirlwind of a sister, clearly being slightly manipulated by both, but unable to deny the basic logic of either person. Joined in their struggle by their brother, Waren, wonderfully played by Mel Gonzales with passion and nuance, father and Waren’s fiance, it is certainly a chaotic family. The family navigates the tumultuous world of a cancer diagnosis not entirely successfully, but honestly and fascinatingly.
Despite this, the script is not tempted to be simply depressing, the whole cast displays a loving tenderness towards each other that is evident even when the fighting becomes intense. If this isn't a true portrayal of family life, I don't know what is.
Overall, this is a thought provoking and highly emotional production that isn't afraid to show it.
The High Priestess will be streaming live on June 16th, 17th, 18th at 8pm EST, and will be available to watch again on demand until the end of June.
Ticketing Information:
Price - $15-$30
Link - https://www.eventbrite.com/e/the-high-priestess-by-andrew-martini-tickets-157357810447
Director of Photography - George Redner
Lighting Design and Assistant Camera Operator - Amara McNeil
Costume Consultant: Kayleigh Downey
Cast: Sandra Laub, Ziggy Schulting, Mel Gonzales, Iris Rhian, Khandis Merritt, Peter Quinones
Filmed on location at the Dragon's Egg Studio in Ledyard, CT