A young couple peacefully sits on a park bench, discussing their aspiring hopes and unfulfilled dreams. In the middle of the conversation, an inept border patrol agent creates a border that two warring nations had tentatively agreed upon.
Leaving the young couple separated, the border generates a rift not only in the couple’s relationship, but in the neighboring countries as well. Led by quick dialogue and phenomenal set design, “Incident at the Border” delivers a straightforward play without any outstanding eureka moments.
Although the play’s aims are high and mighty, playwright Kieran Lynn chooses the path with the least literary pomp. Each character is unforgivably one-sided, and the play’s inherent conflict is visible from the beginning. As a result, the solution presents itself well in advance of the final denouement.
While the subject matter may be of interest to some, the writing fails to explore the issue completely. Its sole highlights include the droll border agent’s frank discussion of his loveless life, which again, comes as no surprise. Too reliant on clichés and been-there-done-that storylines, Lynn has nothing new to say with “Incident at the Border.”
Partly due to the dialogue’s truncated nature, the acting feels overly-rehearsed. The missing spontaneity is too evident in the scenes, and consequently, the play suffers. However, Christopher Frontiero as Reiver deserves a special mention. His depiction of the incompetent oaf is lively and fresh. Albeit a shallow character, Reiver is the stereotypical, respect-hungry, power-tripping border guard, and Frontiero showcases those traits brilliantly.
Much like the play, the set design is simple, but it distinguishes itself with a heightened elegance. Colorful leaves are strung together in garlands, slowly moving from the gentle gusts of the air conditioner vents. A single bench is the center of the action, and a luxurious velvet curtain is the backdrop. Muted, the set design places the acting first and allows for no additional distractions to get in the way.
More innovative than the set design, the lighting is truly ingenious. Depicting a subtle change over time, the lights gradually dim. Not apparent at first glance, the difference is most stark at the end, giving the finale an extra touch of grace. Giving the play a sense of continuity, the lighting symbolizes the passage of time and the setting of the sun.
Too frank and obvious, “Incident at the Border” lacks charisma. Although the acting is fair and the set design striking, the play fails to make a permanent impact.
Playing at the Edgemar Center of the Arts, “Incident at the Border” will continue its run until September 3. Tickets cost $25, and the theater is located at 2437 Main St. in Santa Monica.
Natalia Evdokimova has been involved with theater throughout her life and has reviewed theatrical productions for local and citywide publications since 2005.