By Tanvi Verma
Staff Writer

Poster designed by Dylan McCusker

The Westford Academy Annual ‘Evening of One Acts’ was on May 18, 19, and 20. This two and a half hour performance showcased the directing skills of three seniors: Hannah Estabrook, Mark Fingerhut, and Hannah Caldwell. Being a Black-box show, it exclusively displayed the acting of only sophomores and freshmen.

Brilliant Traces by Cindy Lou Johnson is a show about a young bride-to-be that flees from her marriage and drives to Alaska from Arizona. She encounters a hermit and the two embark on a journey of emotional chaos.

“You know when, like, you’re growing up and you think ‘What’s gonna happen when I die’? That’s what this play is. It’s answering and asking all of those questions,” said Estabrook.

The set was the first thing that the audience noticed. On the wall was inscribed, “Let my scars leave brilliant traces.” The entire show was set in the hermit’s cabin in Alaska. There were little details hidden in the set that made it all the more believable. There were cans of food stacked up in a corner as well as a small oven; it was wonderfully elaborate.

Another fantastic technical element was the lighting choices. Whenever Rosanna gave a dramatic monologue, the lights would turn red. Whenever Harry (the hermit) gave a dramatic monologue, they’d turn blue.

The mood of the show itself was confusing, as was probably intended. There would be dramatic bursts of anger or sadness followed by a light, somewhat comic scene. This effect was enhanced more by the fact that Nick Nudler (playing Harry the Hermit) and Renée Craig seemed deep into their characters. Watching them onstage was like watching a relationship grow.

The second show was The Father Clock by Walter Wykes, directed by Mark Fingerhut. It is a show about two actors and a stage manager who have been abandoned by their director and forced to put on a show anyways.

“It has a deeper meaning about religion…It’s something that most people have never seen before, it’s a really interesting show”, commented Fingerhut.
When the audience enters the black box, the sight of the actors milling around trying to get set for the show and the harried stage manager trying to get things together greets them. The audience is a part of the show. They’re a part of a show that’s about people trying to put on a show. It’s unique and refreshing and very different from a typical performance.

The set of the show reflected the overall mood of the show, chaotic and confusing. Things were strewn about. The central focus of the show, the actual father clock, was in the far corner of the black box. A couch, upon which most of the action occurred, was in the dead center of the room.

If one can see the overlying metaphor of the show, about God and his people, then it’s a very powerful and thought-inspiring show. However, if you don’t pick up on the very obvious metaphor, then it’s just confusing and difficult to follow. It’s absurdist theater, it’s not intended to make sense, it’s just intended to make the audience think and think hard.

The acting of Emily Borst (Snub), Emily Brown (Stage Manager), and Chris Noran (Flub) was commendable. All three were engaging and very energetic, they threw themselves around the set and gave themselves entirely to their respective parts

The last show, the Dumb Waiter by Harold Pinter and directed by Hannah Caldwell, is about two ‘hit men’ who are trapped in a basement and deeply confused about the coming and going of a dumbwaiter in their room. The actors, Aaron LaBarre, Zak Dictakis, and Matt Higgins all evenly shared the two parts over the course of the six performances.

The show was the most enjoyable of the night, in my opinion. The show opens with an airy and comic feel to it, enhanced by jazzy elevator music playing in the background. The two men have a very funny friendship and it was light and easy initially. The two characters were in costumes that reflected their personalities. Ben (Aaron LaBarre) was in a more crisp and put-together attire than his goofy counterpart, Gus (Matt Higgins).

However, there was an overlying eerie mood. Ben had quick solo moments where the lighting would cut out and he’d be alone in the center of the black box. These moments intensified this strange suspenseful feeling in the midst of the light comedic atmosphere of the show. These moments of suspense all seem to come together and to a climax by the end of the show. The actual message of the show is very morbid, but it’s hidden under layers of comedy. It’s somewhat similar to the Father Clock, in that sense.

Overall, the evening was fantastic. Looking at all of the elements (the set, lighting, acting, sound, etc.), one can tell that there was a tremendous amount of effort put forth into these shows. The directors should be proud that they’re leaving WA with work that has such a resounding and thought-inspiring impact.