Recently I have become obsessed with the show “The Walking Dead.” I’ve always been partial to zombie films, like the classic scenario of a group of people trying to survive against an onslaught of bloodthirsty monsters. I have a weakness for indiscriminate violence on film (“28 Days Later), or the addition of humor while still retaining solid zombie kills (“Shaun of the Dead, or “Zombieland).
I enjoy “Walking Dead “so much more is because of the examination of the human condition. The zombies become the circumstance that helps propel the dramatic tension. The characters then have to deal with each other in this heightened reality, and the audience can then watch how humans deal with each other in crisis situations. Factors like family ties, race, past transgressions, and memories of the way the world used to be bring out feelings of hate and jealousy, acts of kindness or cruelty, and revolving alliances amongst the actors.
This use of a classic symbol is put to great use in the single bathroom set of Sinnerman Ensemble’s production of “Sweet Confinement,” written by Co-artistic director Anna Carini, and directed by Brea Hayes. In this case, the action begins with Amy (Cyd Blakewell) and her punky friend Amelia (Calliope Porter) standing around a giant pool of blood in the middle of the floor. Amy’s husband William has slit his wrists after Amy had decided to leave him and sent divorce papers, and is now in the hospital. This desperate attempt at getting her attention has brought their friends and relatives into the same house to help Amy, and to face ugly truths about their relationships and secret desires.
The characters spend the play trying to clean the gore, and by doing so, are forced to deal with each other. Amy’s brother Josh (Keith Neagle) returns from Washington D.C. to find his best friend dying and his sister practically catatonic, but is so emotionally stunted that he can’t or won’t share the burden. Ginger (Anna Carini), the flighty career woman, tries to help with supplies and food, flitting about the room trying not to vomit, but has to admit to sleeping with William. Amelia is the tough girl, but really wants Josh back in her life. Caleb (Howie Johnson), the next door neighbor, wants William out of the picture so he can have Amy all to himself.
The “elephant in the room,” William, never appears onstage, but his presence is all about. His past is filled with incidents caused by his manic depression, and his loved ones have borne the brunt of the effects. The human condition, and how we all react when we are up against it, is examined here to fine effect. The company is fully represented onstage, and shows the usual strong ensemble work of Sinnerman. Blakewell is particularly effecting as Amy, dazed by the event, and then exploding with rage over being once again tortured by another person’s condition.
The acting is only augmented by the clean white tile of the bathroom set, created by John Ross Wilson, which effectively contrasts the massive amount of blood onstage. Brea Hayes has the relationships between characters, past and present, perfectly clear and relatable to any audience. Carini also captures the dramatic weight of the situation, but also peppers the scenario with timely humor. If you enjoy a keyhole view into someone’s world, be sure to check out this show.