The Suffield Players

present their

138th Production

WAIT UNTIL DARK

BBBBy Fredrick Knott

     Directed by Robert Lunde

OCTOBER 13 - 29, 2011

800-289-6148 or 860-688-0837

First presented on February 2, 1966 at the Ethel Barrymore Theatre, NYC

starring Lee Remick, Robert Duvall and Mitchell Ryan

Reviewed by Donna Bailey-Thompson

SUFFIELD PLAYERS LATEST WINNER

FIRST RATE ENSEMBLE PERFORMANCES

Wait Until Dark is such a manipulative play that I shifted focus just long enough to jot down less than 40 scribbled words of which half are undecipherable.Twenty minutes into the play, I quit making notes: the acting was too good to interrupt.

Playwright Fredrick Knott’s earlier Dial M for Murder created mayhem not long after its opening moments and then spent the remainder of the play devising the plan that would trap the murderer into confessing. Whereas in Wait Until Dark, low caliber suspense sneaks in within the first few minutes and escalates until it would be understandable if some demanded their money back saying, “Enough is enough!"

The suspense begins subtly, gradually builds, until even a blind person can tell the only possible outcome is murder.

Playwright Knott cheats (as the author, he has that right). Two of the characters he creates are female. One is a bratty kid, Gloria. Officious. But Susy is delightful -- and vulnerable. Knott has hooked us. Susy -- bright, attractive, upbeat disposition -- is especially admirable considering when engaged to the love of her life, there was an accident that left her blind. They married anyway. We know they’re happy because they hug and kiss spontaneously; they banter good naturedly. And because he’ll be out of town until after dark, he makes sure she will be familiar with ways to call for help.

So far, so good.

Three malcontents, hoodlums of the first water, believe that Susy’s husband on a recent trip to Canada returned with a doll stuffed with heroin. To win Susy’s trust, they seek ways to suggest that her beloved husband cheated on her. Without becoming overtly violent, they succeed in tampering with Susy’s equilibrium. They move in for the kill.

How can there by any contest? Susy is totally blind. Except, her other senses are developing ways to compensate for the sight she no longer has. She can still think and war-game. In spite of going down some blind alleys (please forgive me), she remains as stunning as she is resourceful.

All the action takes place in a 1966 Greenwich Village basement apartment. Almost every prop doubles as an impromptu weapon. Fighting for one’s life becomes commonplace. Some lose. Whether lights are on or off, curtains open or closed, their positions take on life-affirming importance. Ultimately, Policemen Casimir Strasdauska and Mark Proulx help bring order out of chaos. Even little Gloria (Emma Rucci) becomes a hero. Danny Viets as the new husband, Sam Hendrix, returns to his romantic castle to discover it served as a rendezvous for despicable destiny. Sargent Carlino (Zach Grey) uses every opportunity to terrorize Suzy. Mike Talman (Bill Mullen) is the first to case the apartment and to expose his developing admiration for Susy – a tricky balance and he pulls it off.

It is Harry Roat, Junior and Senior (Konrad Rogowski) the diabolical ringleader who makes grand entrances in multiple disguises, each one more outrageous, including a resemblence to Whitey Bulger – revealing heinous ways to terrorize, maim and kill.

Karen Balaska shines as the brave, resourceful Susy Hendrix. She flirts, schemes, suffocates panic. Up against veteran actor Rogowski, she fights to the death – a prisoner of the dark, in the dark. Their pas de deux is a choreographed triumph, on a par with and often more frightening than wheelchair bound Jimmy Stewart warding off a would-be lethal attacker by popping flash bulbs.***

The finished product suggests that Director Robert Lunde ran a tight rehearsal ship because although surely tempted, no scenes are allowed to become awash in gratuitous melodrama. Although I bet there were some hysterically funny out takes.

The Production Crew includes the full complement of Suffield Players: everyone pitches in otherwise there could not be the quality performances the players are noted for.

DIRECTOR - Robert Lunde
PRODUCERS - Amy Rucci, Brian Rucci
STAGE MANAGER - Chelsea Skawski
ASSISTANT STAGE MANAGER - Mark Proulx
TECHNICAL DIRECTOR - Jerry Zalewski
BOX OFFICE MANAGER - Martha Zalewski
HOUSE MANAGER - Deborah Fusick
ASSISTANT HOUSE MANAGER - Laurie Hawes
HOUSE/BOX OFFICE STAFF - Rick Anderson, Robin Balaska, Ron Balaska, Jeannie Beresford, Samantha Burgan, Vanda Doyle, Tina Ennis, Mary Jean Fuller, Irene Ginger, Tim Glynn, Stephan Grout, Thomas Guerri, Nancy Klueh, James Maulucci, Rayah Martin, Dorrie Mitchell, Marge Patfield, Nancy Perasons, Joan Perkins-Smith, Dana Ring, Mary Roberge, Toni Sadlak
COSTUME DESIGN - Dawn McKay
LIGHTING DESIGN - Jerry Zalewski
LIGHT CREW - Al La Plant
SOUND - Joe Soucy
POSTER DESIGN - Dan Silva
PUBLICITY - Mary Fernandez-Sierra
PROGRAM - Chelsea Skawski
SET DESIGN - Konrad Rogowski
SET CONSTRUCTION CREW - Karen Balaska, Vanda Doyle, Tina Ennis, Mary Fernandez-Sierra, Jason Fregeau, Deborah Fusick, Audra Giuliano, Tim Glynn, Bekki Judkins, Alan Judkins, Brenda Judkins, Noah Judkins, Rob Lunde, Dorri Mitchell, Bill Mullen, Roger Ochs, Mark Proulx, Shannon Proulx, Jacob Pullen, Konrad Rogowski, Dana Ring, Amy Rucci, Emma Rucci, Lizzy Rucci, Kelly Seip, Dan Silva, Chelsea Skawski, Danny Viets, Jerry Zalewski
SIGNS - Dana T. Ring
STAGE LEFT CANTEEN MANAGER - Deborah Fusick

SPECIAL THANKS TO BILL MULLEN, JOE SOUCY, CRAIG PARKER, BOB WILLIAMS, ELLINGTON HIGH SCHOOL, SERVU (SPRINGFIELD MA), RESTORE HOME IMPROVEMENT CENTER (SPRINGFIELD MA), GIGUERE’S USED APPLIANCES (CHICOPEE MA) AND MICHAEL WEBER OF MINUTEMAN PRESS, ENFIELD CT

*** Hitchcock’s Rear Window, costarring Grace Kelly