THE ROAD AHEAD // A THEATRE REVIEW OF "QUIT THE ROAD JACK"
QUIT THE ROAD JACK is self-described as a “New Comedy about NAFTA”, which stands for the North American Free Trade Agreement. It brings up an important concept but does so with farcical execution. The show may be one long, comical chase sequence, but it informs the audience about the disparities that are found in immigration, worker rights and fair trade. This is a hugely relevant topic, and one that should be talked about. This work by Jerry Polner does exactly that in a quirky way.
First off, let me start by saying that this show has without a doubt the best scene changes I have ever seen happen in a “black box” style theatre. The actors’ quick and smooth rearrangements of tables, chairs, and wall panels happen in a very well-choreographed and rehearsed way. That, paired with the adorably creative and energetic sound cues, made the scene changes interesting and entertaining. I hate nothing more than having 30-45 seconds of time crawl by while the audience sits in the dark and waits for the next scene. It bogs the show down and allows the audience’s attention to wander. This production does a fantastic job of using upbeat and relevant musical selections and/or sound cues to link each scene to the next one, while the actors zip around with various pieces of furniture. Thus keeping the audience members focus where it belongs.
The sound design was wonderfully imaginative. One of the shining moments in the show is during a phone call between Freda (played magnificently by Cynthia Bastidas) and a disgruntled customer who is represented by a sound cue that is reminiscent of the teacher in Charlie Brown’s classroom. The moment was truly hysterical. The comical sound elements fit wonderfully into the overall look and tone of the show. The set consisted of a few chairs and some simple tables, with various cartoon drawings of different locations projected against the moveable white panels. The props were all oversized, brightly colored and constructed from cardboard. One actor swapped hat after hat to rapidly change characters. These design elements were fresh and inventive and solid.
I wish I could say the same things about the performances onstage.
Generally, the performances seemed a bit lost. There were moments of ambling about the stage as though blocking had been forgotten or abandoned. Stumbling over lines and long pauses between a cue and the next line seemed to choke some scenes entirely. There were bits of “bad acting habits” strewn throughout the entire show. While the occasional drop of energy from an actor’s hands resulting in a thigh slap, or the slight trip over a line pick-up here or there is forgivable, on the night I saw the show, it was ever-present and distracting.
I also found the character of Jack to be a confusing piece of the show. Jack (played by Jay Reum) is described by other characters throughout the entire show as being the kind of kid who has his heart in the right place, is passionate, and socially aware. Yet, most of what we see of Jack consists of snappy, whiney and over the top letters to his divorced and miserable parents. It didn’t match up. I didn’t like this character at all until the scene where Jack meets an older woman and falls in love at first sight. In that moment, I felt that Reum was finally given the opportunity to dig in and show the sweet, passionate, hopeful and determined side of Jack that I had wanted from the get-go. Which he does with refreshing honesty. From that point forward, I actually began to empathize and listen to what Jack has to say. Which is important, because Jack’s voice ultimately becomes a call to action.
Although Jack’s best friend Walt (Connor Johnston) steals the show with his bold acting choices and line delivery, and the priest (RJ Batlle) had me laughing with his ketchup worship, the best moment of the show by far is the dream sequence that happens in Jack’s mind. Choreographed by Liz Piccoli, I loved every second of the insanity. All of the actors were completely committed to every silly step, turn, swig and shimmy. It was truly a moment of fantastic theatre that I will remember for a long time. I truly loved this moment of theatre magic, and even with all of its flaws, Quit The Road Jack did get me thinking about bigger social issues and what I might be able to do to help the big picture. So in that, there's at least a partial win.
CHRISENA'S GRADE: C-
Directed by: Jonathan Warman Written by: Jerry Polner Starring: RJ Batlle, Cynthia Bastidas, Jes Dugger, Rosemary Howard, Connor Johnston, Jorge Marcos, Jaime Puerta, Jay Reum, and Rob Skolits. Choreography by: Liz Piccoli Set design by: Eric Marchetta Lighting design by: Yuriy Nayer Costume design by: Maddie Peterson Photo Credit: Isaiah Tanenbaum Theatrical Photography
FINAL THOUGHTS: Great concept and a super fun design, but there were FAR too many line flubs to make it gel as a great theatre piece.
CHRISENA RICCI once went to a costume party dressed in an all black dress and black wig. No one there could guess who she was. So she shouted out, "I'm Christina Ricci, without the T or I and add an E!" Everyone stood there confused, she was annoyed, so she stormed off. She never returned to that apartment ever again. Which is fine, because she later realized she was at the wrong party. She now lives in New York City.