The presiding character in The First Line of Dante’s Inferno has no lines, but dominates and literally overhangs the dialogue. It is the dark outlying woods represented by Lauren Helpern’s evocative set, with Jianzhi-esque trees and a blackened canopy that flutters in the HVAC of La MaMa’s Downstairs Theatre. This is where Ann (Kellie Overbey) has come, seeking her missing sister Carol. As she shouts out to any creatures nearby, it becomes clear this is not her customary environment. Her tiny basecamp — a one room squatter’s cabin made of stolen plywood and containing a camping stove, a sleeping bag, a copy of Inferno, and some moonshine — has been under observation by a young ranger, Craig (Evan Sibley). He has also been on Carol’s trail, though he is less optimistic about her being found. With stunning speed, the two make an arrangement that will allow Ann to continue her search. But the longer the duo stays within the forestland, the more feral they become, shedding social norms in favor of unfiltered instinct.
Similar to the title’s narrative poem, Kirk Lynn’s emotionally gripping script is constructed in the style of Story Theater, with characters describing their actions. First and third person are used interchangeably as if they too are fictionalized versions of themselves. The shifting perspective often reveals more about the storytellers than the story. The blending of facts, memories and psychological response is repeatedly illustrated by the telling phrase “As I remember…” as if at heart they question whether their statements are 100% true.
Under Christian Parker’s direction, Overbey and Sibley truly play off each other, generating surprising wattage from an unlikely pairing. Ann’s and Craig’s elevated honesty and rawness is refreshing and often funny. So, too, is Craig’s older partner, Bill (Greg Stuhr) whose years of job experience have not necessarily made him wiser and certainly not a better shot. He is more like an annoying big brother than a senior officer.
Carrying nearly as much weight as the scenic design is Bart Fasbender’s stirring soundscape of animal noises, vocalizations, and rustlings. By contrast, lighting designer Zach Blane’s recreation of the shifting shadows and foliage sometimes pulls focus from the actors. Kanika Asavari Vaish designed the props, which include a suitably bright red copy of Inferno, that is used as a sort of divination tool.
For 90 minutes, The First Line of Dante’s Inferno immerses the audience in its own musky world with a unique set of rules. It is the debut production of Shadowed Forest, a multi-generational company that successfully elicited response from the broad swath of theater-goers who shared the space on a frigid Sunday. Tickets are impressively priced at $30 for Adults, $25 for Students/Seniors and $10 for La MaMa Members and are available for advance purchase at https://lamama.org/the-first-line-of-dantes-inferno/. Additionally, the first ten tickets for every performance are $10 each (limit 2 per person) and available first come, first served. Performances of this World Premiere continue through February 22 at La MaMa’s Downstairs Theatre at 66 East 4th Street. Recognized and rewarded for its support of experimental theater, this house offers comfortable seating, terrific sightlines, and even a few welcoming beverages for purchase.
The Unforgettable Line 