review - SHE KILLS MONSTERS - Mesa Encore Theatre

Ayanna Le Andre, Samantha Gibbons, Zac Bushman, Drew MacCallum, and Molly Bishop
photo by Stephanie M. Hart

by Carolyn Thomas

She Kills Monsters has most all of the elements needed to make it a gay nerd's paradise of a play, and it succeeds well enough for most audiences. Well, at least according to this gay nerd. While I find small faults in the script, the story is solid and the production by Mesa Encore Theatre even more so. MET's cast, designs, choreography, and direction are as epic, fun, and fantastical as New Landia itself.

Written in 2011 by Qui Nguyen, She Kills Monsters tells the story of the painfully average Agnes living her life in the 1990s. A tragic car wreck upends her life and she loses her parents and her nerdy, weird little sister, Tilly. As she's unpacking Tilly's things, she comes across a Dungeons and Dragons campaign Tilly had written, and in hopes of learning more about the sister she'd always ignored, decides to play through it with the help of a local Dungeon Master. She discovers the world her sister had built, as well as some details about her real life that she'd kept hidden away in this fantasy world, like her sister's sexuality and her struggles with bullies.

As a concept, She Kills Monsters is brilliant, poignant, and full of heart. The idea, however, is stronger than the actual script. Keep in mind that this review is coming from one of the harshest possible critics of a play like this: a queer person who is also an avid Dungeons and Dragons nerd. The D&D aspect is done well, and it's a true pleasure to see the game played out so theatrically. It offers so many fun opportunities for the cast and creative team to really play.

However, I have a few qualms with the script, and you may wish to skip the rest of this paragraph if you don't want too many spoilers. Qualm #1: Agnes' friends and her sister talk repeatedly about how much they dislike Miles, and he never does much to redeem himself. Then, we're given the expected 'happy ending' with Agnes and Miles and it feels like a let-down at best, and a "Really?" at worst. Qualm #2: the blatant objectification of the women in Tilly's campaign read as if it was written by someone who assumed lesbians objectify women the same way that straight men do. In fairness, some do, but it's far less common, as most of us know what it feels like to be objectified ourselves. Here, MET's production excels. The comments about characters' lack of clothing are still in the script, but the costume design manages to marry the script's descriptions with outfits that feel more powerful than objectified.

Despite other gripes so minor that they aren't worth mentioning, the concept itself still makes for an impactful and unique show. However, since there truly are so few plays that hit the mainstream that center around queer stories, it's a shame this is a story about another dead lesbian. If you're not sure why that's a problem, do a little research on the "Bury Your Gays" trope (also known as "Dead Lesbian Syndrome").

In terms of the production itself, there's truly little to criticize. Every single actor on stage is giving it their all, and it keeps the audience laughing, sniffling, and engaged from start to finish. Molly Bishop leads the charge as the average Agnes, their performance filled with heartfelt, vulnerable moments that make Agnes easy to root for. They also show us a ferocious side of Agnes that still comes from the heart. As her dearly departed little sister Tilly, Samantha Gibbons is earnest, sassy, and sure. She leads us into the magical world of D&D with nerdy swagger. Michael Gerardi as Agnes' boyfriend Miles plays the clueless outsider with humor and the perfect level of 'average Joe'. Drew MacCallum as Lilith is equal parts fierce and feisty with undeniable swagger, though she shows her real depth when she's able to shift in her role later in the show. Ayanna Le Andre is grand, poised and powerful as Kaliope, and Zac Bushman quickly becomes an audience favorite as the gruff, Cheez-Whiz-chugging demon lord Orcus. Mary Townsend is a real master of comedy in the roles of Vera, Evil Gabbi, and the Beholder. She has the audience in the palm of her hand any time she has a chance to speak, and both she and Amie Grace Falkner (Farrah/Evil Tina) get to show off some sick dance moves on several occasions. Ryan Grissett is hilariously perfect as Steve, a role better experienced than explained. Christian Boden as Chuck shows his prowess in physical comedy as well as vocal, a charming, youthful presence on stage.

Director Van Rockwell gives us a clear vision that aims, and succeeds, in improving what's already in the script. Not only do the design elements give us a cohesive and inviting look into the world of D&D, New Landia, and Tilly herself, but Rockwell's staging, movement, and attention to detail truly bring every piece to life. Fight Choreographer Stephanie "Tippi" Hart deserves overwhelming kudos for her work on this production. Fights are a huge part of this play, and keeping them exciting, realistic (to a point), and innovative is no small task, but one that Hart completes with flying colors. The use of a wide array of weapons paired with flips and kicks and complex maneuvers keeps every fight exciting, energetic, and different from the last.

Lauren Buzbee's costumes take the hints from the script and improve upon them, giving us bad ass warrior women, demons, and all manner of creatures in simple, fun ways. Juxtaposed with delightfully nineties garb, it hits everyone in the audience with waves of nostalgia, at least for anyone who lived through that decade. (Details like a Nintendo controller belt buckle did not go unappreciated, Buzbee.) Angela Kabasan's hair and makeup designs compliment the costumes perfectly, giving us subtle differences between characters played by the same actors that all but transform them. Loralee Godden's set design is masterful. Soaring arches and multiple hidden doorways keep the magic moving without missing a beat in a way that's both highly functional and inventive. Props by Ric Alpers bring us even deeper into the world with fun little touches and incredible craftsmanship and design specifically on the heads of Tiamat. Stacey Walston's lighting is as vibrant as the nineties themselves, black lights and all. Sound design by David Chorley and Van Rockwell kicks off the show with an all-too-familiar sound of an old modem booting up, transporting us right back into the only decade to have ever known the sound. Near perfect timing, fades, and cuts make the sound design a real asset to the production.

Despite my personal gripes with the script, She Kills Monsters is a unique story that truly transcends its niche. MET's production shines in every aspect. It's inventive, playful, silly at times and a heart-string-tugger at others. Expect laughter. Expect nostalgia. Expect magic and dragons, fights with faeries and succubi and gelatinous cubes. Expect to have fun: you won't be disappointed.

CLICK HERE for more information on this production, which runs through January 26