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| Terri Weagant and Sarah Winsor in Blood Countess (Dangerpants Photography) |
Blood Countess
Through November 22, 2014
A real live flesh-eating noblewoman is the subject of Kelleen Conway Blanchard’s latest
production at Annex Theatre. Blood
Countess is a poetic and evocative telling of Elizabeth Bathory’s life,
from her childhood, marriage to a fellow sadist, up to her final captivity and
end.
Blanchard wouldn’t write just any kind of biography, though.
She picks key moments in a life to dramatize with effective dialogue and unique
characterizations. Mary Murfin Bayley
as the Mother is venal, crazy and abusive…Apple meet Tree.
Terri Weagant in
the title role displays a full range of emotions and facially transmits all
kinds of information through her expressions: dislike, bordering on hate for
her mother, longing to be accepted for herself, developing awareness of her own
powers and desires, and progressing into a raging, crazy and megalomaniacal
fully grown woman.
Ashlen Hodge is
Dorkus, the nursemaid and main house servant who must comply with her masters
and then somehow clean up after bloody messes she has to pretend not to
understand. James Weidman’s main
role (of two) is of Elizabeth’s husband Ferenc, a nobleman who enjoys her
sadism and encourages it to new heights. He skirts the edge of caricature, but
adds a lot of creepy fun.
Martyn G. Krouse
plays a priest who has known the family her whole life and is trying, unsuccessfully,
to bring attention to disappearing young girls who are last seen at Elizabeth’s
manor. However, he is no saint! Sarah
Winsor winningly plays several young women who are introduced and quickly
disappear, through changes in costume, language and demeanor.
Then, the deranged and bedraggled Fitzco, a dangerous
simpleton (though maybe not), appears to help and encourage the evil-doing. Erin Stewart pulls out all the stops
(as usual) and amps both the creep and the humor. Stewart is, lucky for us, fearless
about her work on stage and brings all her intensity to bear.
The mayhem is directed by Bret Fetzer as he uses Annex’s usual minimal technical accessories
to exceed their low monetary value and provide great stagecraft at the same
time. With Ian Johnston’s support
for set design, Gwyn Skone providing
inventive creepy lighting, super costuming and wigging from Samantha Armitage (probably on a
miniscule budget), and sound by Kyle
Thompson, the overall effect is a very sophisticated production. There were
a few moments when a bit more screaming sound effects seemed missing, but
perhaps the philosophy was less was more on that score.
The play could be seen as a “Halloween” event at this time
of year, but that downplays its execution, cast and the beautiful poetry of the
script. Blanchard seems to love creepy, but also demonstrates that she loves
language more. Go get your fright on and also experience a multi-layered
biography.
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