Review: Dana H

While actress Deirdre O’Connell expertly lip-syncs this entire show, this is galaxies away from, say, Lypsinka. O’Connell lip-syncs to recorded interviews of playwright Lucas Hnath’s mother Dana, regarding her harrowing experience being kidnapped by a murderously insane white supremacist in 1997 (Hnath edited the interviews into a cohesive hour-long piece). O’Connell is amazingly precise, down to every jangle of Dana’s bracelets, yet also brings a layer of expert acting to it that elevates the whole affair. Steve Cuiffo, the Lip Sync Consultant, must have a lock on that area of expertise – he has indeed been known to Lypsinka. He has certainly coached O’Connell well, she never misses a second.

Dana has long been a hospice chaplain in Florida, and in ’97 a suicidal Aryan Brotherhood member came under her care and became attached to her. Eventually he took her captive and tormented her for five months. Dana is quick witted and hardy, so her description of these events rarely descends into self pity. She is, if anything, oddly detached, which makes hearing about this horrible experience somewhat more bearable. But it becomes clear that she was truly powerless in a way she could not have understood before these events.

Director Les Waters stages the evening very minimally, with Dana mostly narrating events from a chair in a motel room (her captor essentially moved them from motel to motel). The moments that depart from that format are all the more effective because of the contrast with that simplicity. Mikhail Fiksel’s audio editing and sound design is truly a marvel. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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