“Love hurts” seems too obvious a cliché for Rajiv Joseph’s “Gruesome Playground Injuries,” which opened at Boise Contemporary Theater Saturday. In fact, it cuts right to the heart of the play’s hit-and-miss romantic relationship.
For characters Doug (Dwayne Blackaller) and Kayleen (Lesley Shires), physical pain becomes a substitute for life’s simpler pleasures.
The couple meets in a parochial school nurse’s office after daredevil masochist Doug rides his bicycle off school’s roof. He finds Kayleen — whose almost constant stomach pain drives most of her neuroses. Their connection as 8-year-olds is instant.
“Can I touch it?” she asks; not as sexual innuendo but an invitation to connect through open, and hidden, personal wounds.
The play jumps forward and back through their decades-long relationship, from ages 8 to 38, as Doug manages to blow up parts of his body and face unnecessary risks. Kayleen starts cutting herself and internalizes unspoken torments making her uncomfortable in her own skin.
As they meet in hospital rooms, a mental ward and funeral parlor they reveal their history of “can I touch it?” moments that reveals their connection to each other.
Joseph’s script is a perfect dissection of many contemporary lovelost relationships. Kayleen goes for men who mirror her unloving relationship with her father, rejecting Doug’s attempts to connect. He seemingly grows up in the perfect family and yet is driven to extreme behavior. He’s drawn to Kayleen as though she’s his personal life preserver.
New York-based actress Shires is beautifully vulnerable — if Kayleen could only get it together, she’d be amazing.
Blackaller creates an appealing version of a compulsive extreme risk taker who’s spirits are never dampened by physical pain. Could her love make him stop?
Both give visceral performances, but need to take one more step closer to each other emotionally. For instance, their kisses lack a passionate connection.
Director Maureen Towey infuses the production with a frenetic energy and light-speed pace. This is Towey’s third time directing at BCT.
Blackaller and Shires make their scene transformations on stage. The actors change clothes, and add eye patches, bloody gashes and other special effects makeup by costume designer Sarah Maiorino. It’s enough to make the audience collectively say “eww!”
Sarah Krainin’s set — simple turquoise plastic curtains that slide across the stage and rolling yellow hospital beds — is appropriately antiseptic, yet visually appealing.
Raquel Davis’ beautiful lighting culminates in brilliant final image that creates a glass-like ice rink.
Towey and sound designer Peter John Still piece together a soundtrack of electronic beats and Tom Waits ballads, using his latest “Bad As Me” as a kind of anthem.
Dana Oland: 377-6442
