NUTS by Tom Topor at The Burlington Park Playhouse

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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