Signature Theater is staging the Washington premiere of the violent and sexually charged “Tender Napalm” by playwright Philip Ridley now through May 11. Directed by Matthew Gardiner, the show is the story about a man and a woman at a crucial point in their relationship in the aftermath of an extraordinary loss. Using fantastical and dreamlike language, it is a multifaceted exploration of their love in scenes wrapped in allegory and metaphor.
“It's a very simple love story, told in a very original way,” said Gardiner. “My hope is that the audience will be willing to open their ears and eyes to a very unique and remarkable playwright.”
He adds, “I’m at a point as a director where non-linear storytelling and playwrights that are really trying to break rules and expectations of writing are the most exciting to me.”
With its mix of tenderness and fierceness, the play explores the contradictory nature of love. It stars two actors speaking in East London accents — Laura C. Harris and Elan Zafir — acting barefoot, with no props, in the 100-seat ARK Theatre-in-the-round. They give wild monologues of fantasies about dead combat monkeys, tsunamis, unicorns, sea serpents, UFOs — punctuated with dialogue like this: “I could squeeze a bullet between those lips.”
Details
“Tender Napalm” plays now through May 11 at Signature’s MAX Theatre. Performances run Tuesday through Sunday evenings, with matinees on Saturday and Sunday. Tickets start at $40. Single tickets are available in person at the Signature Box Office at 4200 Campbell Ave., in Shirlington, by calling Ticketmaster at 703-573-SEAT, and online at www.signature-theat…. The production’s Pride performances are scheduled for Friday, March 28 and Friday, April 11. Discussion performances are scheduled for Wednesday, March 26, Tuesday, April 8 and Wednesday, April 16.
The only effects are by composer/sound designer Eric Shimelonis who adds echoes and bombing noises, dimmed lighting effects by Colin K. Bills, as well as dry ice falling from the ceiling. The end result is simmering metaphorical explosions throughout.
Harris describes her character, named “Woman,” as in a moment of transition and realization. “The life she had, that she wanted, was taken from her, and she’s navigating her conflicted emotions about what happened and what remains,” she said. “She has an immense capacity for love and joy, but when love and joy are gone; her capacity is equally as expansive for anger and blame.”
She adds: “It’s rare to be a part of a show in which so many metaphorical — and literal — muscles are stretched at the same time.”
Zafir describes his character, named “Man,” as a good man who falls deeply in love at a young age and essentially becomes a parent while still a child himself. “Then a tragedy happens that no one could prepare for, which ultimately rattles their relationship, and who they are as individuals,” he said. “Things get very dark, and in an effort to protect his family he goes to horrifying lengths.”
This play does not have massive sets, projections, multiple costume changes or props. It’s just two people on stage telling stories and having a conversation. Gardiner said it was the most challenging piece he’s ever directed. “Engaging the imagination of the audience is difficult when all you have are words,” he said.
Harris said her character’s journey presented a big challenge for her … “Figuring out the path she takes throughout the play and then being willing to travel to the highs and, particularly, the intense lows along the way.”
She said, “Every aspect of working on this play has been enjoyable, truly. To get to navigate the above challenges while working on a piece that strikes such a significant emotional chord with me is invigorating.”
“Make no mistake... the play makes you work,” said Zafir. “It doesn't spoon feed you the facts. It puts you into the story, like an injection to the vein.” He said he enjoyed his long monologues and small cast. “We have history. We are parents; we are lovers, combatants, partners, dancers, fathers, and mothers. We need each other.” He adds, “It’s fun to explore people who have so much history.”
Gardiner hopes that audiences will really listen to the message of the play. “Too often I think audiences just let any form of entertainment wash over them without really listening,” he said. “And I hope they leave with a reawakened idea about the power of words and more specifically how we express ourselves to the people we love.”
Harris said, “We have all loved and we have all lost, and the beauty of Philip Ridley’s script is that, while the details of the plot and the characters who experience it are intensely specific to the world of the play, the poeticism with which he explores what are ultimately expansive, universal themes allows everyone a path in emotionally, to the joyful and the devastating and everything in between.”