Terrifying “Wait Until Dark” Has the Audience Holding Onto Their Seats!

DD THEATRE REVIEW – WAIT UNTIL DARK at Fitger’s Spirit of the North Theatre, Oct 4-13 By Sheryl Jensen, Arts & Entertainment Editor  “She is blind and she is alone . . .” Boat Club Productions’ suspenseful psychological thriller “Wait Until Dark” is perfect for Halloween month, when audiences are up for a night of “edge-of-their-seats” hair-raising tension and fear. The original play by Frederick Knott, (who also wrote “Dial M for Murder”) was turned into an Alfred Hitchcock-style film in 1967 starring Audrey Hepburn and Alan Arkin. Contemporary playwright Jeffrey Hatcher adapted the play, moving the setting from the 1960s back to the 1940s, providing a “film-noir “quality, streamlining the script, and tightening the pace to enhance the increasingly heart-pounding storytelling. The central character, Susan, has been recently blinded in an accident. While still adapting to live in a sighted world, she has learned to navigate her small Greenwich Village apartment and the streets of New York. Her life with photographer husband Sam has been happy until one night, when Sam is out of town, her quiet apartment is invaded by men who are ready to do anything to get something of theirs that they had planted in Sam’s suitcase on a train. Rylee Kuberra, as Susan, is entirely believable as a blind woman. She demonstrates the strength and grit to survive the terror of murderous men. Employing her clever psychology, wits, and acute hearing to discover the villains’ intent, Kuberra beautifully plays the character as vulnerable at times without allowing herself to be a victim.

Paisley Kern’s portrayal of Susan’s upstairs neighbor girl, Gloria, provides the needed comic relief as a bratty “tween. ” At first, Gloria just enjoys taunting and playing tricks on Susan but eventually becomes her staunch ally. Susan has another unexpected ally in Mike (Chris Ibarra), a soldier and Sam’s Army buddy from the war. Ibarra, solid in the role, is instantly a calming presence. He provides the sounding board and help she needs to figure out how to fight the increasingly combative nature of the men who show up out of nowhere and turn her life upside down. While his appearances are brief and only at the beginning and end of the show, Patrick Carroll is sympathetic as Susan’s husband Sam, providing a “bookend” of sanity and normalcy to the story. One of Susan’s nemeses is the fake policeman Carlino, played by Joe Meischsner. He is convincing, first as a seemingly sympathetic law officer and then ultimately as a dangerous threat to Susan. The biggest threat to Susan’s life, however, is Roat (Keith Russell), the purely evil and psychopathic madman calling all the shots. In character, Russell has the requisite look of a true cut-throat. At times, however, because of the rate, pitch, and lack of clarity in his diction, his lines got swallowed or muffled. This was especially true in the opening scenes where the character is important to provide some of the much-needed exposition, which may have gotten lost to some in the audience. Occasionally over the top in some scenes, Russell decidedly brings it home, however, in the scariest one-on-one final confrontation with Susan. Set and scenic designers Jeff Brown and Curtis Phillips masterfully recreate a basement apartment down to the last detail. The set serves at first as a secure haven for Susan and then turns into a nightmare battle zone for her as she tries to outmaneuver the bad guys. Patrick M. Mulcahy Jr’s dramatic lighting design and all-important lighting “tricks” almost serve as another character. As light and darkness are a plot device, a symbol, and a thematic imperative, Mulcahy’s work is completely “instrumental” in making the show successful. Director Michael Kraklio pulls out all the stops to tell this old-fashioned thriller, where not everyone is who they seem. He navigates the audience through the complexities of the plot to get them to the terror-filled climax, which elicits screams from the playgoers. Audiences need to get ready for surprises, twists, turns, and a “killer” of an evening that will bring them back to an earlier style of theatrical thrillers rarely produced today. Producer Jason Vincent makes a bold choice with this show and offers something unique in the fall season of area theater. Information on “Wait Until Dark” By Frederick Knott, Adapted by Jeffrey Hatcher October 4-13, 2024 October 4-5 7:30 pm | October 6 2:00 pm October 10-12 7:30 pm | October 13 2:00 pm Next up for Boat Club Productions is “Winter Wonderettes” Written and Created by Roger Bean “Winter Wonderettes continues the story of Betty Jean, Cindy Lou, Missy, and Suzy, who return to organize the Harper’s Hardware Holiday Party. Set against the backdrop of the 1968 holiday season, the Wonderettes entertain the audience with classic seasonal tunes and holiday cheer. Winter Wonderettes captures the magic of the season, inviting audiences to experience the joy of the holidays with these long-time friends.” December 5-15, 2024 December 5-7 7:30pm | December 8 2:00 pm December 12-14 7:30pm | December 15 2:00pm Spirit of the North Theatre, Fitger’s – 3rd Floor Box Office Phone Number: (218) 623-7065 Tickets available online at boatclubproductions.com Boat Club Productions will also announce their 2025 season soon, with the opportunity to buy season tickets. _____ About Sheryl Jensen – Arts & Entertainment Editor A retired educator with the Duluth Public Schools, Sheryl Jensen has been a theater director of over 60 school and community productions. Her production of William Shakespeare’s Taming of the Shrew at East High School won the National High School Theater award from the BRAVO television network. Having written theater, music, dance, and opera reviews for the Duluth News Tribune for many years, she now is the Arts & Entertainment Editor for Destination Duluth.