The Rodgers are the quintessential American family. Living life like a commercial, the Rodgers model their existence after the unfettered idealism and rampant consumerism of the 1950s. However, not everything is right in paradise, especially with the Conservation Corporation around. When the grim reality finally catches up with the Rodgers, the family falls apart in tragic fashion. Portraying a bleak dystopian future, “D is for Dog” befittingly spirals into a hopeless pessimism, but its profound delivery is sure to make the play an instant classic.
Developing a pragmatic alternate reality, Katie Polebaum brilliantly integrates aspect from “Leave It to Beaver,” George Orwell’s “1984,” and Aldous Huxley’s “A Brave New World.” The action starts with an eager Mrs. Rodgers (Nina Silver) performing monotonous daily tasks, and as the play continues, all this ritualized perfection ultimately deteriorates when Mr. Rodgers (Guy Birthwhistle) unabashedly reveals their lives are a corporation-created fantasy.
Great foreshadowing and symbolic allusions ripple through the play, as does the uneasy feeling that the Rodgers’ world is no utopia. Instead of exposing the Rodgers’ true life from the beginning, the story is told in increments, divulging nothing but the necessary. Only at the end is the dark, hidden truth completely disclosed. A testament to Polebaum’s writing skills, “D is for Dog” includes all the elements for an enthralling, alluring play.
Following the footsteps of the writing, the direction is flawless. Director Sean T. Cawelti has his actors break the fourth wall, addressing the audience with direct monologues or commercial-like vignettes. To underscore the unceasing action, the entire stage becomes the playground for the characters, not only when Jane (Taylor Coffman), Dick (Michael Scott Allen), and Mr. Rodgers (Birthwhistle) impersonate long-lost animals like elephants and dogs. Using puppets and television screens to further unravel the plot, Cawelti increases audience intrigue without forcing the play to become kitschy and unrefined.
To augment the direction and the writing, the actors complete their characters. Silver as Mrs. Rodgers is the prototypical housewife, ready to sacrifice all at a moment’s notice, except when it comes to her steadfast beliefs. Birthwhistle plays Mr. Rodgers with a chip on his shoulder, trying to lift his family from ignorance into knowledge, albeit unsuccessfully. Dick, as played by Allen, is overeager to impress his father in whatever way possible. Finally, Coffman’s Jane deals with her innumerable mental issues with a hilarious twist.
Complimenting the actors on stage, costume designer Kerry Hennessy aligns the style with the times. Mrs. Rodgers sports a pastel pink dress, hemmed at the knees for a more mature look. Just like her mother, Jane wears a canary yellow version of the same dress, shorter around the arms to make it look younger. On the other hand, Hennessy fits Mr. Rodgers and Dick in 1950s men fashions. For Mr. Rodgers, that means a rigid brown tweed suit, and for the boy, knee-high socks and youthful cotton shorts.
The energetic and progressive lighting makes each scene even more worth watching. When the Rodgers begin their daily commercials, like praising a certain coffee or pancake brand, a spotlight appears on the action, dimming the rest of the stage. Not only does the lighting help imitate television advertisements but it also denotes the passage of time. A disco light show appears in conjunction with a wild infrared animation to show that the day has passed into the night. Coupled with the direction and writing, the lighting accentuates the hyper-reality of the production.
For “D is for Dog,” the writing, the direction, the costume design, the lighting and the actors all come together to create the perfect storm. A total mind trip from beginning to end, “D is for Dog” is a definite classic of its time.
Playing at the Hudson Mainstage, “D is for Dog” will continue its run until August 4. Tickets cost $18 to $25. The Hudson Mainstage Theatre is located at 6539 Santa Monica Blvd. in Los Angeles.
Natalia Evdokimova has been involved with theater throughout her life and has reviewed theatrical productions for local and citywide publications since 2005.