Kissing the Floor – A Modern Day Gothic Tragedy
Annie (Christina Bennett Lind) lives alone in a corroded, dilapidated family mansion usually shared with older brother Paul (Leon Ingulsrud). A lifelong pedophile, Paul is currently in prison for breaking and entering, i.e. he was caught before kidnapping and abusing the little girl at whose bed he stood with ready rope. “I wanted to see what stuffed animal she favored,” he guilelessly tells her.
Having herself suffered at Paul’s hands in childhood as well as being aware of his unpunished behavior throughout their lives, Annie is inexplicably his dogged protector and sole visitor. Warden Brennan (Rinde Eckert) would just as soon see the man he thinks of as despicable dead, but dutifully attempts to protects his charge. They aptly stand on Potter’s Field to talk about Paul.
Enamored of death, the young woman hears voices. She communicates with spirits by way of Morse Code (often knocking on the floor) learned from a deceased father with whom she had a bizarre,symbiotic relationship. Annie utilizes a set of progressive visualizations to glean the emotional state of those with whom she’s in contact: You’re walking down a path, what do you see and hear…like that. Psychology 101, yet compelling here.
We learn this from one of two siblings (of four) who managed to escape the family legacy – though not without scars. Izzy (Akyiaa Wilson) narrates as well as stepping in when she can no longer bear to watch what’s going on. Later, Paul’s twin Eddie (Leon Ingulsrud) will break the fourth wall to share their horrific history.
When Paul is released back home, Annie endeavors to make him promise not to act on impulses again. She knows it’s futile and that the next time he’s caught will be the last. Exchange of memories is riveting. His sister treats him with anguished tenderness. Desperate, she takes things into her own hands.
Apparently inspired by the Antigone myth, playwright Ellen McLaughlin offers up a family of siblings, agonized and sacrificial, twisted together by madness and bloodline. Characters are vibrant, specific, convincing; the story splendidly manipulative; chilling. McLaughlin is both poetic and raw. Use of language is wonderful. A less expansive ending might be more succesful.
The entire company is excellent. Akyiaa Wilson (Izzy) manages to imbue what is mostly narration with frustration and despair. As Warden Brennan, Rinde Eckert brings resigned fatigue, a realistic eye, and frayed compassion to his role. Christina Bennett (Annie) wears madness like second skin. We needn’t see the tremor to feel it. The actress allows time to hear voices we cannot – at one point torn by so many, we expect her to rip apart. Determination defines characterization, doom convincingly shadows it.
Leon Ingulstrud (twin brothers Paul and Eddie) evidences signs of bloodline while differentiating with comportment, energy, and palpable awareness. His Paul is as creepy as they come yet also shows pitiable helplessness and a kind of childlike perspective in the throes of compulsion. As Eddie, the actor blazes with resignation which would seem an oxymoron, but in context, is not. He never overplays. ‘Trenchant acting.
Director Ianthe Demos creates a state of riveting tension reflecting characters’ inner turmoil. Anticipation of explosive behavior that never occurs powerfully affects. Staging is deft, characterization haunting.
Natalie Lomonte (movement director) interprets Robin’s constant shivering as something akin to St. Vitus Dance. It’s the single false note in an otherwise excellent production.
Artful, decayed set design by James Hunting, Driscoll Otto’s painterly lighting, and Brendan Aanes eerie sound/music symbiotically sustain mood.
Photos by Russ Rowland
Opening: Christina Bennett Lind (Annie) and Leon Ingulstrud (Paul )
One Year Lease Theater Company presents the world premiere of
Kissing the Floor by Ellen McLaughlin
Directed by Ianthe Demos
Through March 12, 2023
Theatre Row (Theatre Four), located at 410 West 42 Street
