Slanguage invigorates Kenyon theater
Miles Purinton
Issue date: 4/30/09 Section: A&E
Friday and Sunday, April 17 and 19 marked a first in Kenyon theater history: a play was performed in the newly opened Peirce Pub. The play, produced independently of any student group, was "Slanguage," and from the first five minutes of the performance, it was clear that this production was unlike anything Kenyon has seen yet this year.
To refer to "Slanguage" as a play would be incorrect-as it is not one in the traditional sense. It would be better categorized as a theatrical event, a performance piece or-as advertised on the program-a "choreopoem." This was evident from show's opening, when performers recited bits of a poem and drummed on buckets. This was not a play; this was an experience. And what an experience it proved to be.
The program lists the setting as being on a train, evidenced by train announcements and a cast of characters including a battery salesman and a man down on his luck, figures familiar to anyone who has ever ridden on a New York subway train. The train setting was soon dropped, however, and most of the action took place on street corners, in a classroom and in a variety of unspecified locations. Straying from the expected setting was a common theme throughout the show. The production and the play itself followed very few conventions.
Without a traditional plot or stable characters, the show-no matter how well-written-could easily have fallen flat on its face. This could not have been further from the final result, mostly due to the masterful direction of Jamal Jordan '12. Each vignette melded together flawlessly and effortlessly, holding the audience's attention throughout. Jordan's cast-Joe Valentine-White '11, Daziah Merideth '11, Ron Maheia '12, Robby Letzler '12 and Shaakira Raheem '11, most of whom are not actors-handled the difficult material remarkably well. Each actor assumed multiple roles, ranging from "kid begging for change" to "MC Satan-Christ." Under Jordan's direction, the cast wisely chose not to try to differentiate too much between these characters. Instead, each actor adopted a distinct persona, which was common among the characters. This gave the show a consistent feel, which allowed it to proceed effortlessly and beautifully. While all of the cast was superb and imperative for the success of the show, Maheia and Letzler specifically stood out-Letzler with his soulful comedic timing, and Maheia with his intense presence, which captivated the entire audience.
Perhaps the most notable aspect of the show was how different it was compared to any other Kenyon production, both in style and in subject matter. For a school that so often pledges open-mindedness, it was a pleasure to see something that could put people outside of their comfort zones. "Slanguage" was a reminder of the creativity and talent of the Kenyon community. This tour-de-force was incredible and, without a doubt, inspiring.
To refer to "Slanguage" as a play would be incorrect-as it is not one in the traditional sense. It would be better categorized as a theatrical event, a performance piece or-as advertised on the program-a "choreopoem." This was evident from show's opening, when performers recited bits of a poem and drummed on buckets. This was not a play; this was an experience. And what an experience it proved to be.
The program lists the setting as being on a train, evidenced by train announcements and a cast of characters including a battery salesman and a man down on his luck, figures familiar to anyone who has ever ridden on a New York subway train. The train setting was soon dropped, however, and most of the action took place on street corners, in a classroom and in a variety of unspecified locations. Straying from the expected setting was a common theme throughout the show. The production and the play itself followed very few conventions.
Without a traditional plot or stable characters, the show-no matter how well-written-could easily have fallen flat on its face. This could not have been further from the final result, mostly due to the masterful direction of Jamal Jordan '12. Each vignette melded together flawlessly and effortlessly, holding the audience's attention throughout. Jordan's cast-Joe Valentine-White '11, Daziah Merideth '11, Ron Maheia '12, Robby Letzler '12 and Shaakira Raheem '11, most of whom are not actors-handled the difficult material remarkably well. Each actor assumed multiple roles, ranging from "kid begging for change" to "MC Satan-Christ." Under Jordan's direction, the cast wisely chose not to try to differentiate too much between these characters. Instead, each actor adopted a distinct persona, which was common among the characters. This gave the show a consistent feel, which allowed it to proceed effortlessly and beautifully. While all of the cast was superb and imperative for the success of the show, Maheia and Letzler specifically stood out-Letzler with his soulful comedic timing, and Maheia with his intense presence, which captivated the entire audience.
Perhaps the most notable aspect of the show was how different it was compared to any other Kenyon production, both in style and in subject matter. For a school that so often pledges open-mindedness, it was a pleasure to see something that could put people outside of their comfort zones. "Slanguage" was a reminder of the creativity and talent of the Kenyon community. This tour-de-force was incredible and, without a doubt, inspiring.
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