By Virginia Schneider
Hollywood, CA (The Hollywood Times) 1/22/25 – A deadly woman in a purple hat, ominous evil swirling underground, piling snow and bitter cold all threaten to suffocate our heroes. But it’s nothing compared to the fear each of them carries inside, fear and misery so great, the characters hide behind jokes and stories to make others happy and distract from their own pain, pain that’s ready to devour them all.
The intrepid Rogue Machine Theatre company debuted the Southern California Premiere of Obie, Lucille Lortel, and New York Drama Critic Circle award winning playwright and screenwriter Will Arbery’s, Evanston Salt Costs Rising which received a standing ovation at it’s opening. Arbery gives us the humble salt truck workers of wintery Evanston, IL — Basil (Hugo Armstrong) and Peter (Michael Redfield) — who survive their frigid jobs with their warm friendship. As Peter bemoans his life (in a shattering mixed portrayal of fierce love, resentment and humor), Basil tries to make his friend laugh with his artful stories and hysterical antics. But is Basil really as optimistic as he attempts to be?
Their partner in humor and insecurity is their boss, Jane Maiworm (Lesley Fera) whose gaiety blows cheerfully into the grungy snow plow office with gusto equal to the gale force winds outside. Maiworm oversees the city’s snow removal efforts and is eager to read of her deeds in the local paper when the city takes issue with the weather. (“They’re talking about US” as she tries to buoy her men.) The three are a small Mamet-like family, each with issues they pretend not to see, each having the others backs. Rounding out the quartet is Jane jr., (Kaia Gerber) Maiworm’s daughter who is just as wound up and fearful as the others. Being younger however, she has not learned to build walls yet. She is more open in admitting her demons – and her frightening wish to kill them – making her the most honest of the foursome.
Arbery gives us the earthiest, salt of the Earth folk who literally salt the earth. Basil and Peter drive their salt truck (an ingenious ‘truck’ lights and all, thank you scene and lighting designers Mark Mendelson and Dan Weingarten) in the worst of blizzards, as Peter confides his unhappy marriage to Basil who in turn tries to improve his friend’s moral with childlike hopefulness. Yet Basil confides his dreams are tortured by the recurring vision of a woman in a purple hat who appeared at his beloved grandmother’s death and who he feels in his big Greek heart, will come for him one day.
Maiworm wants to win at her job, win with her daughter and keep her two employees happy. However, her research leads her to believe that salting is ultimately too costly in dollars and environmental damage. A new heated pavement technology under roadways will melt snow more efficiently. That may win her career laurels but will it put her employees out of work and put her clandestine relationship with Basil on the skids? Fera exudes ferocious affection for all three of her ‘family’ with torpedo resilience and momma bear determination for all to win. Is change the harbinger of good, or the destroyer of lives?
When ultimately disaster rips each member of our little family, each flail individually while desperately trying to right the others. It’s a sinking ship and the audience winces for all to survive, but the future of each is as tenable as the weather.
As the saying goes, you can open people’s mouths with laughter then cram the truth right after it. Director Guillermo Cienfuegos does just that with centrifugal force, setting a brisk pace with rollicking action and comic scenes that leave the audience in stitches. Then slams the characters fears and alienation in our faces with breathtaking truthfulness. As Cienfuegos states in his notes, “Amidst the quirkiness and laughs there’s an undercurrent of anxiety and existential dread that all the characters come into contact with and must ultimately face.”
Mark Mendelson creates a seemingly sprawling set on the minimal stage, Dan Weingarten’s lighting and Christopher Moscatiello’s sound designs leave us feeling we are engulfed by raging, ominous snow storms. Michelle Hanzelova-Bierbauer’s clever projections complete the ingenious staging concept which is a testament to creativity and inventiveness of professionals who think outside the box.
As Basil the Greek, Armstrong is like a multi-faceted diamond with each infinitesimal moment catching the light. A study in acting, he delivers hysterical diatribes sometimes in fantastical gibberish.
Fera’s effortlessness and adroitness with charged emotions is seamless, Redfield powers through a roller coaster of torments and teasing, leaving us first laughing then terrified, and Gerber’s sensitive rawness is both charming and tragic.
Near the play’s end Arbery leaves us with a lesson when Maiworm confronts a ghost from her past saying individual effort is a must to create societal change while the ghost counters, change results from opening hearts via discussion with others. Society is becoming more fractured and we are becoming more afraid and alienated from others. As Arbery demonstrates with his play, it’s we who create separation or unity with our choices.
Evanston Salt Costs Rising runs at Rogue Machine at the Matrix Theatre, 7657 Melrose Ave., L.A. 90046.
8pm Fridays, Saturdays, Mondays; 3pm Sundays through March 9, 2025
No Performances Jan. 27, Feb. 10
