The surrealistic setting for “Hungry” conjured up for Stillwater Theatre Company by set and lighting designer extraordinaire Shannon Clark, with substantial assistance from video animator Meredith Laxton and video supervisor John Maruca and costume designer Rebecca Bailey, is a marvel in which the unblinking eyes of omnipresent television screens alternately buzz with snow and static and stream live video of the onstage action, as seen from different angles, a la ubiquitous surveillance cameras.
“I am a big fan of contradiction and juxtaposition on the stage,” says “Hungry” director Chip Rodgers. “When I read Lia Romeo’s play, I was unsure whether it should be staged as a comedy, a horror, a fantasy, or a psychological dream play. In the rehearsal room, I have discovered that it is all of the above. It gives me that feeling we don’t often get in the theater that says, ‘I know my gut is reacting to something, but I don’t know what, or how to deal with it.'”
A meltdown that leads to the loss of a job, a fatal illness, a sex tour of Europe, and a mysterious and somewhat sinister stranger who inexplicably shadows these events are the unlikely ingredients for Pulitzer Prize-winning “How I Learned to Drive” playwright Paula Vogel’s delightfully dark 1992 Off-Broadway comedy, “The Baltimore Waltz,” now playing at Deep Dish Theater Company in Chapel Hill, NC.
A sensation when it opened in Off-Broadway in 1992, “The Baltimore Waltz” by Paula Vogel follows a brother and sister (Jesse R. Gephart and Mary Forester) who flee a frightening medical diagnosis by embarking on a fantastical trip across Europe. A third actor (Kit FitzSimons) plays the quirky characters they encounter, including the Little Dutch Boy (at age 50) and Harry Lime, from the classic movie “The Third Man.”