A stage version of The Birds would seem nigh impossible because of the title itself. But fans of either Daphne du Maurier’s story about vengeful birds attacking people or Alfred Hitchcock’s film based on her story will find this version wholly different. Here, Conor McPherson’s book is a horror story mixed with psychological drama that director Jay Duffer pulled off with an expert hand.
The story centers on three strangers who find themselves holed up in a lakehouse for safety. Birds flutter and peck outside the house but dissipate when the tide goes out on the coastal town. Diane helps Nat pull out of a feverish episode before they commiserate and plan to gather food and supplies. Julia, a young girl who escaped attackers – the human kind – from her school, finds the house and joins the two. They begin to form a family unit of sorts until mistrust seeps in while birds flurry around them and a mysterious neighbor makes a visit.
The Birds was a discerning watch through a languid pace. At around 90-minutes, the show felt longer as the director let the show take deep breaths. This slow burn worked beautifully with the story and the cast. Instead of a bombardment of scares or action, the play’s adagio unfolding at last Friday’s opening night allowed the dread of the situation to seep in deeper — for the characters and the audience. One might come in to the show for thrilling horror, but they will walk away with a foreboding angst.
The chemistry of actors had to work for all its intimacy and the trio was an ideal combo. Sarah Gay was riveting as Diane, a woman who suffered loss but powered through with a resilient tenacity to problem-solve and survive. Gay melded a broad range of Diane’s complexities that were puzzle pieces of anger, fear, responsibility and suspicion and conveyed a clear idea who her character was.
Nat began in a hysterical stage, but Philip Matthew Maxwell unpacked the character which revealed a respectable guy in Nat encumbered by the gloom and doom that surrounded him. Nat was at times impassive and other times explosive but Maxwell built an impressive connective tissue between those extremes. Monica Jones added a lightness to the vibe as the naive but optimistic Julia. The character’s youthful energy displaced her among those serious adults, but Jones added weight to her performance as the three descend into less amiable manners.
The tension throughout The Birds was perpetual but there are tender and even slightly comic moments that broke it up. Just not for long. In a quieter moment, Diane is resting, but the stress shifted into overdrive upon Tierney’s appearance. In a single scene, the across-the-lake neighbor drops in for a visit. He may or may not have good intentions and Greg Holt adeptly commanded attention in the role. Holt’s portrayal was a blend of friendly and menacing and he held space perfectly in the middle.
What made this bird fly was the show’s stunning technical achievements. Jeff Stanfield’s scenic design was a remarkable creation filled with layers and textures that rose to the high ceiling. His dilapidated house told the story of both its original residents and these three strangers. Every inch of this set felt authentic. Mixed with Kaitlin Hatton’s props design, the house itself took on a presence that was both shelter and a trap. Additionally, with the character’s contemporary clothing, Hope Cox gave astute attention to detail through soiled shoes, frayed edges and a muted palette that blended well with the scenery.
There may not be enough digital pen and ink to write about the incredible work of David Lanza’s sound and Roma Flowers’ lighting. Working in tandem, these two elevated the show’s terror to outstanding heights. The birds imposing presence, the shifts from day to night and the power of a single light all painted a picture with a bleak and ominous focus that told the story just as much as the dialogue. .
The birds are ever-present but Conor McPherson’s writing puts all the focus on the characters. With all its exposition, there’s a minimalist approach to each character. There are backstories but they don’t figure much into the motivation of each in the show’s present moment. Instead, McPherson’s story was one of survival but also an existential one.
Amphibian’s production was a magnificent triumph. Through its patient narrative and atmosphere, the show delivered on several facets of drama, fear and malaise that stick. The conviction and attention across the board to the characters and to the details big and small made The Birds soar.
The show runs through Nov 9.
–Rich Lopez
