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World of Mirth

Author: Murphy Guyer

Reviewer: Jennifer Womack for Theatre Reviews Limited

Murphy Guyer’s new offering to the world of theatre, playing at Theatre Four, is titled “World of Mirth” which could have been better re-named as “World of Murk”, appropriate for the play and for the audience.

It is set in a run-down carnival midway, where pitiable characters reside trying to scrape up the happiness that is left of Kaspar Kelly’s World of Mirth. The course of the play sets the audience up for a miserable ending. The unstable and rough plot, as evident in the over-dramatic “behind the scenes” vaudevillian dialogue, makes parts of the show unbearable.

Each actor fell right on the marker of holding their own against this tart and humorless show. All sight of the humor was lost in what Guyer was portraying through Sweeney (Mark Johannes), the alcoholic clown who pokes at anything the other workers/performers hold sacred. Sweeney, (star of the clown-dunk) is trapped behind bars from the others, as well from his own mirth. Deirdre O’Connell’s Buffy Starr, the Wild Woman of Borneo, only stays with the carnival because of her love for Kaspar Kelly (Victor Slezak), although she knows she will never see big bucks. Kaspar Kelly is a headstrong egotistical businessman, although Slezak and director, Dona D. Vaughn presented this character as bland and light-hearted. Then there’s Jack Willis who illustrates a perfect portrayal of the manger the carnival, Patch. Emmett (George Bartenieff) is an elderly man who is of no use to midway except for his painting duties, will do anything to receive his “medicine.” Patch’s daughter Marcey (Angela Gots) is a mute who only expresses her desire to leave midway through her expressions. Augie (Kieran Campion) who brings some excitement to this show performance wise, falls short of ethical standards.

The play beings with dreary rain, and it lasts, as the tale of the carnival is unfolded to the audience. The rain is what ruins this sinister place at midway. Sweeney is the only one who tries to keep his “spirits” up and aid his co-workers through his treachery. The others wallow in their sorrows and try to find a route of escape. Ironically, they never walk down that path afraid that what happened to Oscar, the Amazing Frog Boy, who committed suicide after being fired, might happen to them.

With a unique but scattered vision, Dona D. Vaughn’s direction tackles the emotional barrier embodied in the characters minds and hearts. The one eye-catching element about this play is Michael Brown’s set design. It is captivating in that it brilliantly exhibits a once vibrant carnival turned shabby. The set is magnificent on the eyes and is a joy to experience. James Vermeulen’s lighting design places an appropriate gloomy mood on stage while Tracy Christensen’s costumes are apt and balance well with the theme and design of the show.

Production information