Babs Dentz is solid as Rose, who has dealt with the loss of her husband by disappearing into her own half-imagined world of self-help books and bromides. The scene in which she finally confronts Arthur Sr. is perhaps the most truthfully acted in the play, though its easy resolution is not particularly satisfying, as though Dinson, in his hurry to tackle the relationship between father and son, had lost interest in the one between husband and wife.
Arthur’s “Special Friend” is played by Marc Stevens and Tyrone Requer, who alternate performances. Requer, whom I saw, brings a commanding presence to the role, though it is less a character than an extended musing on religion that I could not always follow, particularly in the final scenes as emotions began churning.
The set is gorgeous. Darla Luke’s design centers on a vibrant blue floor upon which religious and mystical symbols are painted in concentric circles; the sight both crystallizes the play’s meaning and leaves ample room to the imagination. If only the play itself had achieved this effect.
The Ape on the Church Steps is presented by Theatrical Mining Company as part of the 2009 Baltimore Playwrights Festival. It is playing at the Copeland Theatre, located in LeClerc Hall on the campus of the College of Notre Dame at 4701 N. Charles St., on Thursdays, Fridays, and Saturdays at 8 PM and Sundays at 7 PM, through August 30th. For more information, call 410-982-6979 or go to http://tmc.originalplays.com/.
