The Masks -a response by Elsa Dimitriadis

A little over a week ago, I had the pleasure of experiencing Melissa Watson’s The Masks, as presented by L.J. Alleman Talented Theatre & Theatre IV students.  It was the anchor production of Theatre 810’s first annual Entrances Student Theatre Festival (December 7 -9) and it played six times over the course of the weekend with two entirely different casts each performing three times.  Due to the needs of an upcoming production of my own, I was unable to go home and write this review immediately, but that should in no way reflect the level to which I was affected and impressed by this piece.
     S.E. (Susan Eloise) Hinton wrote The Outsiders at the tender age of sixteen, inspired by the rival gangs at her school, the Greasers and the Socs.  It was wildly successful, and has been for decades, eliciting empathy for marginalized teens.  Melissa Watson, a thirteen year old Alleman student, creates a similarly themed work in The Masks, while also effectively utilizing elements of ancient Greek theatre.
     With a running time of a little over half an hour, The Masks opens with the character of Charlotte (portrayed by Ione Eakins at the performance that I attended), in a mandatory meeting with the school counselor (played by Alleman teacher, Kim Douet).  All of the actors on stage except Charlotte don masks, reflecting both the external persona that they have created in order to survive life, as well as symbolizing with what clique they associate.  The masks are referred to literally by Charlotte, who questions the need for such facades.  As the play progresses, it is revealed that Charlotte has caused an incident that has resulted in the removal of the masks, and what the consequences were.  There is talk of a remount of this production, so it is important to me that I not give a comprehensive plot description in this review, as I encourage readers to experience this piece with their own gestalt.
     Precisely and delicately directed by Talented Theatre teachers Steven Cooper and Andrew D. Hunter II, the actors negotiated the space in Theatre 810 effectively.   They moved cleanly and confidently from tableau to tableau and the use of movement techniques to delineate status was startling and effective.  The Wannabees were eerie and thought-provoking in their Greek chorus-esque role, commandeered by their leader, Angella (Cameron Tamplain).  Tamplain more than made up for her small stature, powerfully progressing from masked general to vulnerable mark.           Several actors had lengthy monologues, which were capably delivered and enriched the piece by giving backstory.  Jacory Bernard gave a nuanced performance of Walter, creating the gentle friend who has had enough whom we all immediately recognize.  The character of Charlotte was written honestly, often disrespectful of authority figures, but comes to understand the consequences of her actions – good and bad.  Ione Eakins created a syrup-free Charlotte, who was irritating, kind-hearted, sympathetic and real.
     The limited technical elements only enhanced the production and were careful to not detract from the text.  The students were effectively dressed in school uniforms, with specific cliques utilizing different colored shirts and bottoms.  The masks were interestingly designed and painted, and allowed the audience to more easily associate groups as well as draw inferences about each character.  This was also true of the use of make-up, which I will also let be a surprise to future audience members.  The blocks that were used for the predominant set needs (with the exception of the counselor’s office which was more realistic in design) were lit well, becoming more abstract as did the story.  Shelby Williams’ band propelled the story arc, letting the audience know about recurring themes, impending action, etc.  As they were hidden behind a curtain, I wondered if others knew that there was live music on stage, but the curtain call included the audience being given a chance to show their appreciation.
     If I were pressed to give constructive criticism, I would have little.  I would recommend that the reasons behind the counselor’s reluctance to remove her mask be made clearer either through text or through a stronger technical device.  The piece is set up so that the audience is made to wonder what the counselor is hiding and the reveal could be stronger.  Also, I would like to see the play expanded in length at some point, with more development given to “the incident.”  While it was effectively left nebulous in specificity, at some point Watson may find that the piece could move from youth theatre to adult theatre if it were longer and unambiguous.  And really, what kind of criticism is that?  I want to see more!
     I have taught theatre for some time to a variety of demographics.  When I sat down to watch The Masks, I was prepared to see theatre for youth by youth.  Instead, I was presented with a smart, reflective play by a burgeoning playwright, acted by mini-adults in a Fringe-like atmosphere.  I was delighted, and moved and comforted in knowing that this is the future of theatre in our area.  After The Outsiders, S. E. Hinton went on to write several more bestsellers.  I expect no less from Melissa Watson.


E. Dimitriadis