Outcry Theatre presents Let The Right One In
by Jack Thorne
based on the novel by John Ajvide Lindvist
Directed and Choreographed by Becca Johnson-Spinos
Stage Managed by Elizabeth Cantrell
Scenic Design by Cory Garrett
Lighting Design by Courtney Amaro
Costume Design by Benjamin McElroy
Blood Special Effects by Isa Flores
Sound Design by Becca and Jason Johnson-Spinos
Makeup Design by Aleena Azhar
Fight Consulting by Adam Kullman
Additional Choreography by Dylan Weand and Charli Henn
CAST
Dylan Weand
Charli Henn
Ryan Maffel
Jason Johnson-Spinos
Jake Lawrence Geary
Violet Forbes
Brady Beckley
Audrey Medrano
Michael Anderson
Keven Diaz
My thoughts on Let The Right One In or…blood, love and surviving in Sweden.
Outcry Theatre and Director Becca Johnson-Spinos have out done themselves with this remarkably entertaining, bloody and gripping supernatural thriller that combines the coming of age, murder mystery, and horror genres. The horror in this case is provided by Swedish vampires.
Oskar (Dylan Weand) is a sensitive and bullied teen from a broken home. His mother (Audrey Medrano} is an alcoholic and his father (Jason Johnson-Spinos) is unengaged. An enigmatic, attractive young person named Eli, who says they are neither male nor female, moves in next door with an older man named Hakan (Ryan Maffei) who is assumed to be Eli’s father. Oskar and Eli, both outcasts of sorts, eventually are in a complicated relationship. All this is happening at the same time a series of brutal murders are occurring in the town. What Oskar does not know is that Eli is a vampire and Hakan is the protector who supplies the blood Eli needs. Hakan, like Oskar, is enamored with Eli, but he has grown older while Eli remains eternally young. If this sounds like familiar territory, it shouldn’t as playwright Jack Thone makes it all fresh as the ever-present winter snow.
Director Becca Johnson-Spinos lets the story unfold at a pace that allows the characters to develop fully, but keeps you planted firmly on the edge of your seat. You never know exactly what to expect. There’s even some lively, stylized dancing, choreographed by Johnson-Spinos, that the characters break into occasionally. It’s strange and totally unexpected, but somehow works wonderfully in this play.
Dylan Weand and Charli Henn are marvels in the central roles. Weand’s Oskar is awkward and uncertain, not quite understanding his attraction to this strange being. His youthful pursuit of Eli is charming. Henn’s androgynous Eli is fragile and invulnerable at once, alternately forthright and withdrawn and she brings a physicality to the role that is almost otherworldly. These are performances I won’t soon forget.
The entire cast is impressive. Ryan Maffei captures Hakan’s conflict perfectly. With his mane of blonde hair and usually soft-spoken delivery, it is easy to imagine Hakan in his youth and Eli’s attraction to him. Audrey Medrano as Oskar’s Mom is an unhappy woman with a wine glass almost always in her hand and Medrano makes her both pitiful and repellent. Jake Lawrence Geary is an excellent Detective Helmberg, who is trying to find the serial killer. He brings a nervous tension to the role, apropos of a man dealing with so much uncertainty. Violet Forbes is beyond intimidating as the thug Jonny, who constantly bullies Oskar, and so is Keven Diaz as his equally thuggish brother Jimmy. Brady Beckley is Micke. He is also a thug, though most likely due to Jonny’s influence. Beckley, through his telling glances and hesitation does a splendid job revealing the kindness beneath the exterior of Micke. Jason Johnson-Spinos is terrific in two roles that are almost opposites. As Oskar’s teacher/coach Mr. Avila, he is a warm, goodhearted man ready to give guidance to young Oskar, but as Oskar’s Dad he’s distant and mostly unconcerned with his son’s well-being. Michael Anderson is the chameleon of the play, portraying four different characters. He is most appealing as the candy store owner visited often by Oskar and Eli.
The chilly Swedish landscape covered with snow and birch trees is realized beautifully by Scenic Designer Cory Garrett and Courtney Amaro’s lighting adds to the chill and the chills. There are uncanny blood special effects by Isa Flores. I was literally three feet in front of Eli when the character has a major spasm and blood pours not only through their clothing, but also from their scalp. I still can’t figure out how this was done. The production also has some breathtakingly real fight choreography for which Adam Kullman is credited as a consultant.
Let The Right One In may be my favorite Outcry play ever. I was completely absorbed by this eerie, violent tale that’s really a tender, way off beat love story. It’s certainly a hauntingly memorable trip to Sweden and much more fulfilling than a trip to IKEA.
