In Shakespeare’s day, Elizabethans went not to see a play, but rather to ‘hear’ a play. If the mark of a listenable story is its strength of dialogue, Crystal Aldamuy has the gift of gab. She puts words into her characters’ mouths that make us feel as though we are eavesdropping through a tenement wall. This is more than evident in her latest feat of derring do, a two-act relationship drama called The Campaign produced by Workshop Theatre. Not only does Aldamuy exhibit an acumen for how people talk, but she also proves a competent craftsperson in the construction of plot.
The Campaign tells the story of Kyle McMillian, an ambitious thirty-something who embarks on entering a local city council race, and his life with his flamboyant partner, Seth Williams. The two young men grapple with the universal vagaries of keeping their love alive while cohabitating in somewhat claustrophobic quarters. Their relationship is further challenged by Kyle’s meddling mom, Naomi, whose raison d’etre appears early on to be shopping for her son and picking out just the right sofa pillows.
At the outset, Kyle and Seth present as a familiar trope of ‘gay odd couple.’ Kyle’s reticence is juxtaposed by Seth’s inability to keep anything to himself. When the moment arrives for Kyle to announce that he has thrown his hat in the ring to be a local politician, Seth has become disillusioned by the reality of their relationship. Seth now must compete for Kyle’s attention and must ‘campaign’ for his true loyalty. This conflict reaches a fever pitch when a man named Timothy enters the picture later in the game.
Aldamuy’s two main characters’ wants and drives become clearer as the play progresses. Though the inclusion of Kyle’s mother, Naomi, appears first as a single-dimensional plot device, her development of personae is enriched by a touching scene wherein she connects for the first time with Seth at the kitchen table. No spoilers here, though.
Josh Kern as the earnest Kyle McMillion, son of the apparently legendary politician, Walter McMillion, is excellent. He moves throughout the play with ease, giving us a protagonist who desires far more than simply being a domestic AC repairman.
Julian Deleon sparkles with quick one-liners and hilarious mood swings. Deleon may well be the audience favorite as he maintains a type-A drama queen personality who is culinarily challenged and suffers panic attacks during failed attempts at assembling Ikea shelves.
Tiffany Dinsmore is delightful as Naomi McMillion, a mother who strives to insert herself into her son’s life and relationship with the best of intentions. Dinsmore is believable and never over-plays her hand in a role that could so easily have become a caricature.
As a playwright, Aldamuy delivers and gives us some firm bones.
Missing, however, are clear and smooth transitions between scenes that could better convey the passage of time. These moments, when actors enter and exit depositing and retrieving props in half-light, were confusing.
Act One seemed to take a while before any significant conflict gave its characters the impetus for action. It might also have been technically stronger had Aldamuy directed Josh Kern to vocally project more as he was difficult to hear at times, keeping us on the edge of our seats for the wrong reasons. This took nothing away, however, from Kern’s powerful exchange with Deleon at the end of Act II, two scenes back-to-back that were worth the price of admission alone.
The script struggled to present a narrative that is socially relevant in 2021 with scenes about condoms and AIDS prevention (though certainly still a part of world we live in) giving us tired theatrical territory, once an important innovation in the eighties by dramatists such as Larry Kramer and William Hoffman, but by now a trope with which audiences are overly familiar.
Challenges aside, however, The Campaign is well-worth your time. Workshop Theatre has another winner here with local stalwarts Aldamuy, Kern, Deleon, and Dinsmore at the helm. Remaining performances are few. Do not miss this one!
Fri, Oct 8 8 PM, Sat, Oct 9 8 PM, Sun, Oct 10 3 PM
Tickets at Workshoptheatre.com
Christofer Cook is an active member of the Dramatists Guild of America. He holds an MFA, an MA, and a BA. An internationally produced and award-winning playwright, his latest work is “Amityville, 1925” which opens at Theatre Mysterium on October 21st.
Theatre review by Melissa Swick Ellington
