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night audience members sat at the edge of their seats in rapt attention as they learned about such important matters as: 1) how to create daydream opportunities at echoed, 2) how to become a master of the midnight escape from an upper story bedroom and 3) how best to spend a million dollars.
The only similarity between the two scripts is the fact that both shows follow a group of teenagers through the school day from waking up in the morning until bedtime. Each play was devised from the improvisations of its own cast. Rappahannock students rose to the challenge of creating dialogue with substance.
Each play also uses a stylized set. It includes a backdrop showing a city street and platforms that can be rearranged at will to become everything from bus seats to family dinner tables. The local version was designed by Linda Heimstra, Pah Delevitt and Laurie Marshall.
The backdrop for “Where I’m Cornin’ From” was covered with brilliant dayglo graffiti that seemed to change and burn under the lights.
These lights must be singled out as the most professional technical aspect of the production. Bob Baines designed a lighting plot that subtly set the moods from scene to scene. Especially noteworthy were the electronic-type strobe effects during Terminal Desire” and the powerful fade-up of intensity during the final number “Children of Light.”
Bob was assisted by Lee Baines and Greg Smith.
The best bit of acting was turned in by Willie Arias. He plays Kurt, the
kid brother, the math whiz, the video game groupie — and most of all — and best of all — the little guy who has just discovered — GIRLS.
“Sometimes love can be embarrassing,” he comments after the gorgeous
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