‘Skriker’ will cast a spell on you

Molly Silberberg ’11 directed a brilliant production of “The Skriker,” Caryl Churchill’s dark 1994 play, for her senior thesis in theater. The play is about a shapeshifting ancient creature who ensnares two downtrodden young women with promises to grant their deepest wishes. Tackling a complex, anti-naturalistic drama by a leading feminist playwright, Silberberg’s thoughtful production is buoyed by some of the best acting and design work I have seen this year at Princeton.

Nushelle de Silva ’11 is exceptionally strong as the eponymous Skriker. She brings relentless energy and intensity to the role, remaining in constant motion and contorting her body into new positions so rapidly that at times she almost appears amorphous. This hyperactivity is a compelling physical representation of the Skriker’s shifting and treacherous character. That the cozy confines of the Matthews Acting Studio at 185 Nassau Street often place her just inches from the front row of spectators makes her techniques all the more effective. When not talking to the play’s human characters, the Skriker speaks in lyrical but fragmented groups of words that are often obscure in meaning and not easy to deliver. Yet de Silva exhibits absolute command over her challenging lines, reciting each one with assurance, fluency and nuance.

Likewise, Bethy Atkins ’11 gives a moving performance as Lily, the young expectant mother who is tormented by the allure of the Skriker. Atkins captures Lily’s naivete and the pain of her impoverished circumstances without turning her into a caricature of a clueless teen mom. Atkins’ sensitive, understated acting stands in sharp and instructive contrast with de Silva’s exuberance and renders Lily a sympathetic and relatable figure. Her slight accent addresses the play’s ostensible setting and reminds the audience of Churchill’s standing in contemporary British drama without sounding forced or obtrusive.

Uchechi Kalu ’14, acting opposite two senior theatre certificate students, is impressively confident in her portrayal of Lily’s hardened companion Josie. She brings reserve and gravitas to the challenging role without appearing aloof or detached.

The production’s technical elements impressively complement Silberberg’s conception of “The Skriker,” which she describes in her program notes as an examination of “what happens when what we wish has unexpected consequences and where we easily get whisked away by the magic along the way.” de Silva’s pastel, stylized costumes, designed by Anya Klepikov with assistance from Kerry Brodie ’12, Julia Bumke ’13, and Karen Campion ’11, nicely convey the Skriker’s confounding mix of deception, innocence and seduction. The major transition scenes, in which members of the ensemble dance to choreography by Jeffrey Kuperman ’12 and Ana Sollitto ’11 in strange red costumes under sparse, haunting lighting, designed by Michael Gordon ’11, are similarly effective at introducing the audience to the jarring, dissonant world of “The Skriker.” Silberberg’s production is well-suited to the physical space of the Matthews Acting Studio — seemingly every inch of the space is used at some point. Attaching a water fountain, a key item in one scene, to a side support pole is a clever move.

“The Skriker” is everything a strong thesis production should be: a thoughtful, meticulous presentation of a difficult play that showcases the talents of a handful of seasoned Princeton actors and draws effectively on the resources available in the program in theater. Considering the show’s strengths, I saw far too many empty seats in the audience last Saturday.