Advance Man opens with a seemingly typical conflict in which distressed wife Amelia discusses her potentially cheating husband, Bill, with a private investigator named Lynn. Bill has been working long hours with his astronaut buddies-turned-business-partners, and has stayed strangely silent about their clandestine meetings. The investigation, however, leads to more bizarre and dangerous discoveries than the simple philandering husband the P.I. is expecting.
Scene by scene we get to know the family: rebellious teen daughter Ronnie, sensitive, nerdy, son Abbie, and the new addition: mentally damaged Connor — a former astronaut who returned from Mars alive but broken, unable to speak or walk. We see him now, three years later, barely relearning these basic skills.
Throughout the first act, it becomes increasingly clear that this household has additional problems to the same banal ones that other families face. The scenes between the former astronauts dance around a seemingly sinister and enigmatic experience they shared while on Mars. We then see preparations being made — but what for? And Bill, in a subtle attempt to warn his children, makes cryptic allusions, and gives advice full of foreshadowing.
Well-written and clever dialogue speeds us through this two and a half hour piece. The conflicts are believable, and the conversation realistic. While the overall plot is not shockingly innovative (a recognizable science-fiction trope), the side plots are unique, the suspense is high, and Mac Rogers’s writing is so engaging that the audience finds itself fully invested in the unfolding mystery. A lot of ground is covered, yet the audience is left wanting more — the play ends with a hook. Luckily, Advance Man is only part one in a trilogy of three stand-alone plays. Part two can be seen at The Secret Theatre March 29 - April 15, and then part three June 14 - July 1.
Will staged science fiction be a new trend? Though it may seem unorthodox (and, let’s admit it, downright difficult), Gideon Productions proves that it is a worthwhile endeavor. The play is set in the home of Bill and Amelia and doesn’t attempt to out-do its budget with special effects that wouldn’t come off in the intimate space. Simple sound design, and a few choice props cement us in the world. The living-room space works well for the action of the play, and the front door and windows upstage center create interesting options for the actors and director.
The production is well done overall; however, if the acting were as good as the writing, it would be stellar! Though the two leads (Kristen Vaughan as Amelia and Sean Williams as Bill) are for the most part very strong, there are a few disappointing moments where they miss their potential. Bill, especially, has one particular monologue during the climax of the show that should be both chilling and compelling, but it simply felt too casual. The teenage son and daughter, played by David Rosenblatt and Becky Byers, are excellent, especially when interacting with each other. Amanda Duarte is also a standout as the Private Investigator.
Anyone who sees this piece, with its high energy and solid acting and production value, will be sure to line up for the next two installments.
Advance Man; Written by Mac Rogers Directed by Jordana Williams; Gideon Productions; The Secret Theatre; 44-02 23rd Street, Long Island City
