By Eva Trieger
SAN DIEGO-Why write a play about a topic that makes everyone uncomfortable, anxious or fearful? Because it is a journey many of us will take personally, or bear witness by accompanying a loved one. This frightening, frustrating and largely inevitable voyage is the road to dementia. Trinity Theatre Company has taken Sean Pomposello’s Living After Midnight and created this world premiere. The script debuted in a new works festival and under Tim Baran’s direction opened last weekend as a full production.
Felix (Neha Curtiss), an older gentleman, has broken his hip and has been placed in a rehab facility by his daughter, Penny (Sundarri Rodriguez). Or so he believes. As we meet more characters and the story unfolds, the viewer comes to see that Felix may be suffering from memory loss or dementia. This is evidenced by his unreliable sense of time, as well as his perception that his daughter has not visited him.
Felix’s fellow residents include a couple of women: the sometimes flirtatious Alma (Terri Brown) and Nella (Kara Tuckfield) who lacks a filter. Joey Mancini (Lee Price) is a grumpy older man with whom Felix is a roommate, and Orlando (James Rainey), who, initially, appears nearly catatonic. The residents of the assisted living facility, Arms Acre, are often patronized by the young staff. This is particularly evident in a scene where the young Spandex clad “sloga” instructor, Bonnie (Vivian White), is encouraging her class to participate in various stretching movements.
In a phone interview, Baran explained that the caregivers and workers at the facility were intentionally made younger to emphasize the age gap between residents and the staff. The interactions between the residents and staff run the gamut of all human emotions. And while the subject matter is certainly a somber one, there is a fair amount of humor in the telling of the story.
Felix and Orlando form a bond over their shared love of music and their memories of wilder days. These imprinted memories contain tributaries that trickle back to days of youthful nostalgia. Orlando has a mischievous streak and enjoys playing games and making fun of the various Arms Acre’s staff. Nurses Harper (Mia Spencer), Rose and Bermuda (Melina Moreno) are often the butt of his jokes and trickery. The doctors Feerick and Bettina (Melina Moreno and Sundarri Rodriguez) work to help Felix accept his prognosis and insure his comfort. As with so many patients with memory issues, he is not reassured, and at times, mistrustful of their “care.” The Ombudsman (Greta Chan and understudy Kaitlyn Summers) attempts to maintain her professionalism with the Arms Acre staff, but it is apparent that she is walking a fine line making sure Felix is respected and protected.
As audiences experience Felix’s life through his eyes, we are invited into the shifting, uncertain world of dementia. The fluidity of time, the alternating cast of characters and the seemingly endless world of loss–loss of people, memories, objects, family and purpose is palpable. Baran explained that several of the cast members have family members with memory loss and their own compassion and empathy was tangible in the performances.
Baran’s casting and direction for this world premiere was stellar. From the soft spoken, often-confused Felix, to the boisterous and sometimes crude Orlando, to the overly ebullient Bonnie the struggle was made real. All of the Arms Acre’s staff and care team who alternated between frustrated and empathic, and including Felix’s daughter who despaired at the loss of her dad’s cognizance and their role reversal, each actor and character felt genuine and true.
Lest you think the play is a “downer” be heartened. Though the topic is hardly comic, the treatment, writing and delivery of Felix’s story is upbeat, and reminds us that our life focus should not be about how many breaths we take but the moments that take our breath away.
Living After Midnight runs through November 17th. Tickets may be purchased online at trinityttc.org
Eva Trieger is a freelance writer specializing in the coverage of the arts.