review - THE BURN - BLK BOX PHX

the cast of the Burn
photo by Reg Madison Photography

by Carolyn Thomas

Cyber-bullying has been a hot topic for many years now, and despite any expectations surrounding the idea of a play on the topic, The Burn isn't just a creative public service announcement. It's a story first and foremost, a smart story and one based on true events, at that. It asks the question, "How far is too far?" BLK BOX PHX delivers a thought-provoking, hard hitting win with The Burn, with relevance that stretches far beyond teens and cell phones.

Written by Phillip Dawkins about an encounter he had as a teacher with one of his students, The Burn weaves together a modern tale of warning in tandem with the well-known classic. As Dawkins put it, "The Burn is a remix of The Crucible," and remix does seem the proper term. Erik's drama class is preparing to mount The Crucible and the script is littered with direct lines and references that mirror the class's own struggles. Religious to the extreme, Mercedes is new to the school, and to top it off, she doesn't fit in at all, which bodes poorly when she's in class with her very own set of 'mean girls', Tara, Andi, and Shauna. BLK BOX's production marks The Burn's Arizona premiere, but I have a feeling it will grace many more stages in the days to come.

Admittedly, finding out that most of the 'mean girl' characters were also marginalized in some way, I braced myself, worried that the characters would be explained by saying that being marginalized is now the 'cool' thing, but to my pleasant surprise this was not the case. Each character is fleshed out in a way that rings true in their own identities and to anyone in the audience, regardless of their own backgrounds. Dawkins gives us people, not caricatures. The clique members' social standing may give them privilege, but The Burn weaves us through the complexities of privilege, assumptions, and superiority in many different forms. A resounding theme is also that of theatre as a church of sorts, which will resound with many theater-goers. My only complaint for the script is a lack of resolution for Tara, Shauna, and Andi.

Mary Townsend positively soars in her role as Shauna, the more relatable girl in the clique. She  brings out the vulnerability in Shauna that makes her feel truly human, even in her mean moments. Townsend has one of the clear standout performances of the play, followed by J.C. Lawler as Erik. Lawler plays the empathetic but struggling high school teacher with sensitivity and earnestness necessary for the role. His performance is engaging and funny, a perfect complement to his cast mates. Megan Holcomb plays lesbian jock Andi with a great comic sense, she's at her best when she's doing physical comedy. Holcomb connects in more than just the comic moments, though. Bethany Baca as Mercedes is absolutely believable as the Bible-thumping new girl, though she's most impactful and successful when she's quoting The Crucible. Mia Johnson is smooth and sure as Tara, giving her the fierce conviction and self-assured swagger Tara demands as a character.

Director Elaine 'E.E.' Moe makes stunning use of the space in the Judith Hardes theater, using every inch of the spaces available to tell us parts of the story that aren't written in the script, little moments between characters who would typically be offstage. Little details really bring everything to life, and the play is largely cohesive. Her decision not to use any actual cell phones or technology in the hands of the actors is a commendable choice, and truly elevates the production. It takes the focus off of the devices and keeps it rightly on the characters and their choices.

Costumes by Sara Lindsey are perfectly evocative; the audience can tell exactly what they can expect from each character at the very first glance. Christy Lindsay's hair and makeup designs perfectly complement Sara Lindsey's costuming, and together they create the perfect looks. Scenic design by Tiana Torrilhon plays with space and shapes in ways that make the staging very exciting to an audience, and give the director and cast a great deal of spaces to play in. With a central stage unit that's asymmetrical and two wing areas divided by levels, it really makes the most out of the space. While the details are sparse in the classroom setting itself, it's exactly what it needs to be. Props by Jessica Florez are well-thought out and executed, lending themselves perfectly to their uses. Daniel Davisson's unique lighting creates opportunities for special moments within the play, using lighting from all directions, in vibrant hues ranging from bloody reds to classic school florescence. Bold strips of light at the top and bottom of the central stage work brilliantly with the staging. Sound and media design by Micky Small add context and detail. The tick of the clock during especially tense exchanges truly elevates those moments, and the overlayed projections create just the right amount of mayhem as social media explodes around them.

The Burn doesn't preach, even if Mercedes might. It's a thoughtful play with a great cast and clever creative elements that all together make for a provocative and gripping performance. The takeaway isn't going to ask you to give up social media entirely, just to think a little harder about how easily damage can be done in this new age of information. BLK BOX's production of The Burn is a great piece of theater done with fantastic flair. Swipe right on The Burn.

CLICK HERE for more information on this production, which runs through November 10