In a time when many face the grim reality of unemployment, sickness and many other social issues, the College of Visual and Performing Arts’ production of Maxim Gorky’s ‘The Lower Depths’ makes a powerful commentary on the human condition.

Running until March 4, ‘The Lower Depths’ is set in a cold, dank basement in early 20th-century Russia. The play brings the audience into the lives of a collection of outcasts who have little to no chance of overcoming their current situations, with no glimmer of hope for a brighter future. It’s filled with many profound moments that are easily missed if viewers lose focus for even a moment. But those with short attention spans will still greatly enjoy the play for its countless comedic moments.

The production provokes its audience to examine whether it is better to deal with harsh realities or comforting lies. Subtle in its brilliance, the play doesn’t try to draw the audience in with flashy sets or costumes. Instead, it relies on the inevitable connection the audience will make with the characters, a connection that is only made possible through the incredible talent of its actors.

Each character deals with a distinct struggle, including alcoholism, love triangles and self-hatred that cause the audience to become personally invested in the outcome of the characters’ circumstances. The storyline does not feel scripted or staged. The play allows the audience to join the cast on another bleak day of survival and the physical and mental toll on their lives.

The production uses just two simple sets, but that is all that is needed. The first is the basement apartment that houses the odd collection of characters with only a few wooden flats for beds, a wood burning stove and a table with chairs for furniture.

The other set is the outside of the apartment — a wall with just one window. The intimacy of the Storch Theatre at the Syracuse Stage makes the audience feel like they are a part of the story. Each subtle movement and expression of the actors is highlighted due to the closeness of the stage to the audience, amplifying each actor’s subtle movement and expression, a testament to the ability of the actors.

Viewers will take a hard look at their own lives when Luka steps onstage. Played perfectly by junior acting major Will Pullen, the old pilgrim has positive and compassionate views that contrasts with those of the other characters and causes them to see things differently.

Humor is a crucial part of this production. The raw emotion and struggle might be too much for the audience to handle if not for the comic relief. Sophomore acting major Doug Pemberton’s brilliant portrayal of The Actor conveys a comically unwavering yet naïve hope that draws sadness and sympathy for the character. The most impressive comic display comes from junior acting major David Siciliano, who plays Satine, the wisecracking, corrupt card player. Siciliano’s ability to keep the audience laughing with his constant drunken stupor and carefree attitude, yet still incredibly thought-provoking performance, keeps the play from being too profound and depressing without losing the message in the humor.

Other standout performances were provided by VPA sophomores Johnny McKeown (The Baron) and EmilyAnne Marie Reddy (Nastya). Baron’s preference for harsh truths contrasted with Nastya’s need for comforting lies and embellishments makes for a playful but tense banter between the two characters that comes across flawlessly through the performances.

But sophomore acting major Derek Goh delivers the production’s powerhouse performance. His portrayal of Vaska Pepel, the misunderstood thief, isn’t merely acting. Goh’s acting makes the relationships that Vaska has with each of the other characters feel effortlessly real. His character endures much turmoil with a conflicting love triangle between two sisters, as well as a desire to escape his thief stereotype and better himself. Goh’s intensity causes the audience to feel his pain.

The entire cast gave a superb performance that left no act lacking. The only real downside was the difficulty in keeping track of the characters’ names. And though the lack of flashiness fits in perfectly with the motif of the play, those who prefer big productions with elaborate sets and music may find it difficult to appreciate.

Otherwise, this captivating show transcends its setting and can be applied to any time or place. It resonates long after its final scene and deserves nothing less than the standing ovation it received on opening night.

bihumper@syr.edu

Published on February 27, 2012 at 12:00 pm