{"id":357249,"date":"2024-07-20T17:57:46","date_gmt":"2024-07-20T21:57:46","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=357249"},"modified":"2024-07-20T17:57:46","modified_gmt":"2024-07-20T21:57:46","slug":"2024-capital-fringe-review-the-call-of-cthulhu-3-%c2%bd-stars","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2024\/07\/20\/2024-capital-fringe-review-the-call-of-cthulhu-3-%c2%bd-stars\/","title":{"rendered":"2024 Capital Fringe Review: ‘The Call of Cthulhu’ (3 \u00bd stars)"},"content":{"rendered":"

I<\/span>\u2019m thrilled they\u2019ve included classic sci-fi horror in the Fringe. In The Call of Cthulhu<\/em> presented by North Shore Productions, under DeLisa M. White\u2019s direction, Greg Oliver Bodine brings H.P. Lovecraft\u2019s classic horror short story to the stage in the form of a 75-minute monologue, which he adapted from the original himself. Lovecraft\u2019s original story is told from the perspective of narrator Francis Wayland Thurston, who relays to the reader his grand-uncle\u2019s recorded stories of a horrible creature and its fanatic religious cult, the existence and rise of which seem connected with mass global hysteria.<\/p>\n

In the original story, we know that Thurston is deceased, having been killed by Cthulhu\u2019s cult: his final lines are \u201cLet me pray that, if I do not survive this manuscript, my executors may put caution before audacity and see that it meets no other eye,\u201d and we are other eyes. RIP.<\/p>\n

\"\"In Bodine\u2019s adaptation, we see Francis, now called only Francis \u201cX,\u201d in a mental ward: specifically, Arkham Sanitarium in Massachusetts. He has been asked to address the asylum\u2019s inaugural A.P.A. conference about what his doctors have labeled his \u201cdelusions\u201d about the existence of this creature. And of course, they probably have little interest in the content of his claims: they merely want to behold how truly intricate this man\u2019s delusions are. It is wonderfully dark, thought-provoking, and even \u2014 annoying critic term incoming \u2014 timely<\/em> to see such an intelligent man so clearly about his wits, an educated truth-teller, dressed in his ward clothes in an asylum where he is treated as delusional and even subhuman. What an original and fascinating idea and concept for adaptation, and what a harrowing image to behold.<\/p>\n

But we\u2019re beholding that same image for 75 minutes.<\/p>\n

Unfortunately, there just isn\u2019t enough that\u2019s been done here to adapt the text for the stage. There are occasional sound effects and dramatic music every now and then \u2014 and even these begin, end, and pause jarringly at times \u2014 but there is simply not enough to make the text enough for an engaging multi-dimensional theater show. Also, these sound effects and graphics feel too framed for the audience\u2019s perspective as we revel in the creepiness of the narrative as opposed to diegetic, and thus don\u2019t match the rest of the production elements, which are solidly diegetic. Creepy font, cartoony dramatic music, and sound effects feel beyond what this wrongfully incarcerated man would be in the mood to include in his presentation, both in terms of tone and anachronistic issues.<\/p>\n

And I understand that there are limitations on Fringe shows. After all, this production is being done in the Fringe\u2019s \u201cBliss\u201d venue, which is the vacant first floor of a former Talbots (so cool). But surely the actor who played Dr. Bonner, who walked Francis \u201cX\u201d out on stage at the very start of the show, could not leave right away, and at least sit there for the duration of the 75 minutes and make mocking comments, or even just facial expressions. And if Francis has been confined and isolated in this ward against his will, speaking to an audience of people oblivious of a clear and present danger, why is he so at peace with the whole thing? Why would he not even mention that he might be a little tiny bit bothered in his entire presentation? And the bloody gauze around his hand is a great start to show he\u2019s battered and bruised from the asylum\u2019s abuse and neglect, but the rest of him looks perfectly coifed.<\/p>\n

The production is already making some changes to adapt the text \u2014 the adaptation work here just needs to be taken to completion to support the fantastic framing device at play.<\/p>\n

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Running Time:<\/strong> 75 minutes
\nGenre:<\/strong> Solo\/Drama
\nDates and Times:<\/strong><\/p>\n