One would expect a two-actor play to include quite a bit of back and forth dialog, a verbal pas de deux of wordy riffing.  What a delightful surprise, then, that Amphibian Stage Productions’ interpretation of Morris Panych’s Vigil contains multitudes with mostly one actor’s voice and facial expressions that say it all from the other.

Jonathan Fielding plays Kemp, a loquacious malcontent misanthrope who quits his dead end job at a bank to rush to the bedside of his dying aunt, Grace (Elly Lindsay).  This socially inept, nay downright rude nephew is not a dutiful relative concerned with easing Grace’s journey to the other side, but rather an impatient, yet wounded, whiner bent on cashing in after ignoring her for twenty-five years.  “I was busy!”

Grace shows the temper of her name by putting up with Kemp’s constant carping and cold, although humorous in a guilty sort of way, put downs.  “I’ve drawn up your will. You’ve left everything to me.” The stage goes black.  “Why are you putting on makeup? Let the mortician do that.” Black again. “I’ve been worried about your health lately. You’re looking better.” Blackness. Perfect timing and rim shot charm turnwhat may seem like a monotonous trick on the surface into something absurdly sublime.  It’s a funny, wistful little play about solitude, family, and identity drenched with a morbid bitterness that is deeply satisfying.

Director Andrew Volkoff crafts a masterpiece of superb acting performances, impeccable sound (David Lanza), ingenious lighting (Chad R. Jung and Aaron Lentz), and natty, detailed costumes (Susan Austin).  Volkoff finds the jazz-like rhythm of Panych’s dark comedy and never allows the ugliness of Kemp’s character to become so loathsome that the audience cannot detect a wounded heart beneath his bitter façade.

Fielding’s portrayal of Kemp is a study in character embodiment and vocal consistency.  Even when he is uttering his most blunt observations and high-voiced exasperations he never loses his likability and sincerity.  And when we learn there is more to him than his erudite hatred for the world, it is pathos-inducing, not merely pathetic.

Best of Big D-winning Lindsay (Best Actress) as thefeisty Grace works wonders with her scared looks, clenched expressions, and nearly silent interaction with Fielding.   Her eyes are deep wells of sorrow and loneliness that need no vocal accompaniment for translation.

Sean Urbantke’s set is impressive in its point perfect dilapidation, and bric-a-brac shabbiness for such a small space.

Photo: Daylon Walton/Random Photography