Chalk Circle Collective Stages Second Show: "Constellations" by Nick Payne

"Multiple possible outcomes splits the world into alternate realities"

A Blog View by Alejandra Enciso-Dardashti

There is no doubt about the transformative capacity of art. How it changes perspectives, how it resets and caresses souls. Like everything, some works stand out and can be left marinating in the brain and heart. Constellations by Nick Payne is one of those works and the second show for new kid on the block theatre company Chalk Circle Collective. A two-person play that follows Marianne (Megan Carmitchel) a physicist, and Roland (Nick Apostolina), a beekeeper. They meet at a friend's barbecue and become a couple. Throughout the next 60ish minutes we see all the possibilities in their lives through key moments like infidelity, a deadly illness, and a breakup. What happens if you forgive? What happens if you don't? What is "next"? Well, if this is looked through the lens of quantum physics: all of the above, as everything is happening simultaneously. 

I am grasping Hannah Meade's style of work through the plays she directs like Backyard Reinassance's "God of Carnage" last year, and this year's "The Beauty Queen of Leenane" where she was the associate director and the intimacy coach. Complex, multi-layered pieces that tackle (or tickle) the psyche. As Meade punctually described in the show's program: "It's a massive idea in a small package". The pairing of Megan and Nick is the dart on the target as they ping-pong all the possibilities, circulating, one by one with its pertinent tone and rhythm marked by Steven Leffue's sound design that sort of resembles a heartbeat each time there is a different outcome; when there is a different scenario to bring the other outcomes, the sound is like a huge sigh. This goes hand in hand with Annelise Salazar's lighting design which took a pearlish, nacre tone that illuminated the space and a circular platform where the actors stood. I am assuming this was part of  Reiko Huffman's scenic consulting as visually, it all came together and made sense. The Old Globe staged this production some years ago and the color palette there was blues, the same as its Mexican counterpart Constelaciones in Mexico City. I consider this lighting approach and having it be white is great, as it illustrates the hollowness and the unknown versus the others that went more into the universe/cosmos angle.

The performances are deep and intentioned whether it was laughing, playing, or crying, the shifts were all landed. There was even a point where Nick fumbled on a line and immediately blended that reaction in. There's an intense sign-language sequence where Megan pounds the fist on the palm while gesticulating: "punch-punch-punch", the sound that comes out of that conversation has an effect with a space of its own. Carmitchel has really given us variety this year as Sonya in "Natasha, Pierre & The Great Comet of 1812", the hilarious, high-braided Schwartzy in "The 25th Annual Putnam County Spelling Bee", and the heartbreaking Li'l Bit in "How I Learned to Drive". Not in chronological order, I left this title last because I thought of Megan with that show as she cried her heart out. I would think "My God! She has to do this night after night"...I bring this up because I appreciate the types of histrionic tears Megan is bringing to the theatrical table. People familiar with my reviews know the odd things I pick up and sync on. In both roles, Li'l Bit's and Marianne's tears scrunch up the heart -bad- but, differently, and that, is what I am praising. 

I became a fan of Nick after seeing his Mordred in NCR's CAMELOT. With the bat of an eye and not saying a word, the man can instill chills. I could see the beekeeper in Roland and the essence of all his subsequential personas in those sixty-something minutes as there is precision, intention, and what looks like solid training.

With this second title,  Chalk Circle's vision and approach are becoming more palpable. I am still recovering from The Turn of the Screw but it is all good. Constellations is a very British play. Other works tackle this topic like the movie Sliding Doors (also British) or the American musical IF/THEN. Some people might think it is "not" for them while in another dimension they are clapping their hands out. 

Minor detail, but worth noting that the venue space choice is both unique and understandable because -new theatre company-. Maybe considering some ventilation would be good. 

Like I mentioned in the beginning, Constellations is the type of play that stays with you, after taking your heart out for a spin and giving it back. Chalk Circle did not only do it justice, they took us to its alternate universe too.

Currently playing at the Light Box Theater at Liberty Station until September 29. For ticket prices and show times CLICK HERE.