NUTS, the1979
courtroom drama by Tom Topor, dares to blatantly address issues of mental
illness, sexual abuse, misogyny, and exploitation of the court system. One
might be familiar with the 1987 film of the same name headlined by Barbara
Steisand, but one might not be familiar with the emotional impact the current
production at Burlington Park Playhouse will create.
The story
focuses on Claudia Draper, a woman who exchanges money and gifts with gentleman
callers. When she is accused of manslaughter, she is brought before a judge to
see if she is mentally competent to stand trial.
Wow! Just
wow!
Tom Astore
as Office Harry Haggerty is never out of character with reactions both subtle
and believable. The same can be said for Cathy Merlo as the Recorder. She is
always in the moment but never steals focus. Paul A. D’Onofrio is perfect as
Judge Murdoch who perfectly balances his professional objectivity and personal
frustrations with the proper amount of sensitivity and impatience.
Dr. Herbert
Rosenthal, played by Lou Fuoco, portrays his character’s infuriating one-way
opinions with impeccable credibility and consistency. The tug-of-war between
Prosecutor Franklin MacMillan (H. Webb Tilney) and Defense Attorney (Lee
Pallotta) is a courtroom battle to be witnessed. Both actors know how to their
get points across with credibility rarely seen on stage.
Tim Vincent
and Christine Connor as Arthur and Rose Kirk bring amazing dramatic texture to
their portrayals of the defendant’s stepfather and mother. Both actors launch
their individual testimonies and slowly build to emotional climaxes on
devastating levels.
But this
production of NUTS belongs to Kerry Rosen Moe as Claudia Faith Draper. A local
favorite in the musical theatre circle, her stellar performance flexes her
theatrical muscles with an explosive performance that is to be experienced. Hers
is a complex character that Kerry brings to incredible life with controlled
intensity and solid understanding. The first two acts allow her to react
silently to her doctor’s and parents’ statements. When it is her turn to take
the stand, people sit up and take notice.
Robert
Hallisey’s direction is has an acute attention to detail and subtlety. This is
evident by his impressive set design (along with Jason Toppan) complete with
realistic EXIT sign and an actual working clock.
This
production and Kerry’s performance are emotionally wrenching and thought
provoking. This rarely performed piece receive due justice.
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