Word: evett
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...music of composer and sound designer Bruce Odland brings the songs of the spirit Ariel (Benjamin Evett) to life. Evett's great falsetto and mysterious vibrato make the songs sound magical and strange. Yet his conch shell allows for diversity: Ariel does everything from a rap segment-using the conch as percussion-to a call in which he speaks through the amplifying and distorting shell...
...student production of these plays would undoubtedly seem juvenile and possibly annoying, but director Wesley Savick and his cast have an unerring sense of timing. All the performances are good, particularly those of Norris and Benjamin Evett as Laertes...
With twice as much stage time to fill as the other two actors, Evett is nevertheless able to project the complex, almost mystical charm his role demands. He inhabits both Hardy's character and accent with ease, no small accomplishment when he must hold the audience's attention for two half-hour segments...
...assured performance rare enough on the professional stage, let alone a Harvard House basement. One can watch the flow of emotions and thoughts in Gelber's Teddy; his grief and pride in his two friends are the truly touching parts of this production. After watching Gelber's translucent performance, Evett's final monologue looks jerky and insincere in comparison, even though it is a fine enough performance in its own right...
Given the close proximity of the audience and the actors, Evett should have toned down everyone's performance; even Gelber seems to imagine he is playing for 200 instead of 20 from time to time. Perhaps if Evett had found someone to direct himself, he could have achieved the glass-like clarity of Gelber's acting. After all, the only dramatic thing an actor can do in a one-character monologue is to slowly open a window into the character's soul; there's no dialogue, or conflict, or imagery to rely upon...