Cappies review for South Lakes' "A Monster Calls"

by Julie Kessel of Albert Einstein High School

"A Monster Calls" company creates a human tree. Photo by Jennifer Heffner, East 27 Creative

"The yew tree is a healing tree," able to cure grievous ills. However, in South Lakes High School's production of “A Monster Calls,” its power might not be enough to heal the wounds that grief can rend.

“A Monster Calls” is a play based on the novel of the same name, conceptualized by Siobhan Dowd and written by Patrick Ness. South Lakes' version of the show was devised by director Michael Viola and the company, taking inspiration from a previous professional production while collaborating to create something wholly unique. The play follows Conor, a young boy whose mother is battling cancer. At night, a monster visits him, telling three tales before demanding to hear a fourth one whose truth forces Conor to confront everything he's been hiding from.

As the titular Monster, Liam Birch commanded the stage as a captivating storyteller. Birch's menacing growl and booming voice, alongside a stalking walk and intense facial expressions, fully encapsulated the inhuman aspects of the character, while his strong and rooted posture grounded him in reality. However, as the story entered the fourth tale and the monster began to comfort Conor (Jahlil Greene), Birch's posture softened, and his voice and facial expressions became solemn and kind. The Monster's clear character shift impressively matched the change in the play's tone from fantastical to raw and devastating.

Greene's Conor portrayed a masterful emotional arc over the course of the play. His initially suppressed emotions as he tried to deny his grief shockingly contrasted with his breakdown at the end of Act 1. Unrestrained movements, a feral yell, and devastating expressions combined to echo the utter destruction Conor left in his wake. Greene's relationship with his mother, played by Sitina Tochterman, was equally moving. Their tender expressions, relaxed body language, and soft voices made the pair's interactions paint a touching picture of a tight-knit mother-son relationship. Further, Greene's guttural cry upon losing her brought the audience to tears, as did Tochterman's emotionally delivered final message to her son.

The core ensemble of “A Monster Calls” was the beating heart of the show. With seamless set changes, where they artfully arranged the many hanging ropes that made up the simplistic set (created by Grace Gibbens, Ellah Skoy, and the “A Monster Calls” Scenic Design and Construction Crew), and delicate dancing, the ensemble was consistently engaged. Their stillness and stoic expressions when creating captivating tree-like tableaus were breathtaking, while their superb characterization and smooth movements brought each of the monster's tales to life.

“A Monster Calls’”choreography, created by Sitina Tochterman, Jahlil Greene, and Hudson Koonce, was particularly effective. While an enthralling contemporary style was used throughout most of the show, ingenious fight choreography provided a striking contrast. The ensemble's sharp movements were perfectly coordinated with each other and the accompanying music (by Brooklyn Whyte and the “A Monster Calls” Sound Crew), whose fast pace heightened the tension of the scene. Further, red side lighting and strobe effects (by Alexandra Farrell, Eamon O'Leary, Sebastian Harman, and the “A Monster Calls” Lighting Crew) enhanced the violent atmosphere. The addition of projections, with animations created by Taylor Clawson and design and editing by Emilie Fiske and Isabelle Philippe, amplified the surreal quality of the show, especially through the psychedelic images used in the dream sequences.

Every story has meaning, and South Lakes' wild and heart-wrenching production of "A Monster Calls” was no different. Once unleashed, this story provided pure catharsis for the audience, making them question the difference between good and evil while helping them accept, just a bit more, the powerful nature of grief.