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Life and loss, choice and struggle are the tenets of Daniel MacIvor's Marion Bridge, presented by Kansas City Actors Theatre.  The play navigates the relationship of three sisters brought together by their dying mother in a poignant and gratifying manner.  This production, directed by Kathleen Warfel, hosts three strong performances by Jan Rogge, Cinnamon Schultz, and Rachel Hirshorn. 

A monologue by Agnes (Rogge) opens the performance, describing her dream of drowning, as she sits in the darkened kitchen nursing her flask.  Soon afterwards Theresa (Schultz) arrives and the sibling verbal battles begin.  The two sisters clearly do not (and seemingly cannot) come to terms with each others' lifestyles as Agnes is an actress in Toronto and Theresa is a nun on a farm.  The third sister, Louise (Hirshorn), is unconcerned about analyzing their lives or her own.   Her life is only the present.

Set in Nova Scotia, the conversations and characters, their problems and motives, are achingly familiar.  The play deals with emotions that unravel with stress and grief: guilt, betrayal, denial, the need to make amends.  Each character is floundering in their own world, bereft of convictions, in some instances angrily seeking answers and resolution. Every scene reveals a part of their individual struggles, the sisters' fears and hopes as they are asked (and ask in turn) to examine what it is they want. For each there is something lost and something gained.

Though it would seem that the subject matter makes this a dour event, the play is by far more humorous than depressing.  Agnes is loquacious and witty, Theresa dry and pragmatic, Louise taciturn and direct.  It is this humor that makes the fiction a reality.  The exchanges about a skirt, a TV show, a game of cards, or a truck are all humorously uncontrived. 

As with Agnes’ opening monologue, each sister has a moment of introspection she shares with the audience.  Each occasion reveals the inner workings of the character.  Agnes is so dramatic and forceful, yet lost and confused; Theresa seems calm and practical, but struggling to keep promises in a discouraging world; Louise…well, Louise describes her image of perfection and takes the audience along for the ride. 

Besides the sisters, the off-stage mother is present throughout the play.  Though never seen, her wishes continue to influence the sisters and their development.  Her character is revealed with Louise’s unflagging devotion, as Agnes sneaks her cigarettes, and when Theresa describes her mother’s secret to reading.  She insists they visit their estranged father, which brings to light Agnes' unaddressed feelings for her own child and unleashes Theresa’s anger in a hilarious rant.

Sound design adds many realistic aural elements with dripping faucets, revving engines and sound bites from the "shows"; the incidental music is also well chosen.  The only aspect that does not work fluidly in this production is the beach scene.  Out of the context of the kitchen the relationship seems stilted and the words are slightly stiff, trying too hard to be symbolic in a story that has thus far unfolded organically.  Yet it is a sweet scene, in keeping with the humor and relationship of the sisters.

This production of Marion Bridge, which runs through September 12, is an excellent portrayal of the sibling connection during one of life’s defining moments.  The actors and direction are not afraid to reveal the flaws in the characters, the realistic aspects of human experience: at times bitter, yet loving, sometimes weak, and yet striving.

REVIEW:
Kansas City Actors Theatre
Marion Bridge
Friday, August 27^th at 8 p.m. (reviewed); Runs through Sept 12^th
Union Station's H&R Block City Stage
30 West Pershing Rd, Kansas City, MO
For tickets call 816-460-2020 or online at  www.kcactors.org

Cover Photo: Jan Rogge, Cinnamon Schultz, and Rachel Hirshorn in Marion Bridge (Credit: Brian Paulette) 

By Libby Hanssen

Traditional and New Classical, Theatre Contributor

Libby Hanssen holds degrees from University of Missouri-Kansas City (M.M.) and Ball State University (B.M.) in trombone performance and also studied music education at Indiana University. She has studied trombone with Carl Lenthe, JoDee Davis, John Seidel, John Huntoon and Denis Wick, and music education with Brent Gault, Estelle Jorgensen and Katherine Strand.

While at IU, she taught classes in general music, focusing on listening skills and music fundamentals through practical music usage and exploring new sound constructions. During the course of her studies at UMKC, she performed with many ensembles, including the Conservatory Orchestra and Musica Nova. She has also performed with the Kansas City Puccini Festival, the People's Liberation Big Band of Greater Kansas City, the New Jazz Order, the Indiana Wind Symphony and the Muncie Symphony Orchestra.

In 2010, she was a fellow (one of 23 journalists selected from across the US) for the seventh annual National Endowment for the Arts (NEA) Arts Journalism Institute in Classical Music and Opera at Columbia University’s Journalism School in New York City.

Most of her free time is spent with her three boys (son, dog and husband) and camera, exploring the many fine aspects of Kansas City living. She enjoys listening to KKFI - Kansas City Community Radio and KCUR - Kansas City's NPR station, visiting Kansas City's fine collection of museums and galleries, and scavenging in thrift and antique stores to add to her collection of toy instruments.

She writes for the joy of words and the process of constructing a story, maintaining the blog Proust Eats a Sandwich (www.prousteatsasandwich.wordpress.com). She is working on her first book: Murray Goes to the Nelson-Atkins Museum of Art.