'Horizon' delves into Utah mystery
On Sunday, after the matinee performance of "The End of the Horizon," the audience was invited to chat with the actors.
One actor, Debra Threedy, is also the playwright. The Plan-B producer, Jerry Rapier, and bookstore owner and history buff Ken Sanders joined in the discussion.
Everyone seemed to know quite a bit about Everett Ruess, the subject of this original script. Ruess was an artist. He was only 20 years old in 1934 when he disappeared into the wilderness of southern Utah. As the discussion progressed, additional Ruess experts spoke up from the audience, including Gibbs Smith, who has published books about Ruess, and Diane Orr, who made a documentary film about the Ruess family.
Those who have studied Ruess talked at length about why they were fascinated by his disappearance all these years later. Still, listening to them talk, you couldn't help but wonder if Threedy's play would prove as compelling to people who weren't especially interested in Utah history. Then, just as it was time for the post-play discussion to end, a young audience member who knew relatively little about Ruess asked a question.
Yes. Perfect. If Threedy's play finds an audience outside Utah, it will be because his mystery is somehow universal.
This production, directed by Kay Shean, has several strengths, especially the acting of David Fetzer, who plays a beguiling Everett. The set, designed by Randy Rasmussen, is also good, incorporating Ruess's artwork and using steel beams to evoke the Utah landscape.
Nancy Hill's costumes also succeed, taking us to Los Angeles in the 1930s, where Ruess' family feels the sting of the Depression. Other lovely touches include original music and bold lighting. (Lighting by Cory Thorell with sound design by Cheryl Ann Cluff).
Still, as you watch the play, especially at the beginning, you may find yourself wishing for something more. You may find yourself wondering about theatergoers outside of Utah, people for whom this is not a local story. If they aren't drawn in, the problem is probably one of dialogue.
Ruess' brother, played by Jesse Harward, is fine in the role of brotherly adviser. Ruess' father, played by Garry Peter Morris, is fine in the role of consoler to his wife. Ruess' mother, played by Threedy, is perfectly capable of displaying anguish and fear. And Stephanie Howell and Jason Bowcutt are more than adequate in their supporting roles as friends of the family.
But are they given the right words to express their grief?
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