FROZEN (Isis Productions): Forgiveness, redemption, and moving on

Republished by kind permission from Neals Paper

Allen Radway and Kirsten Quinn in FROZEN. Photo by Kristine DiGrigoli
Allen Radway and Kirsten Quinn in FROZEN. Photo by Kristine DiGrigoli

Neill Hartley’s ensemble for FROZEN makes the most of all the emotion and thoughtfulness Bryony Lavery invests in his play of forgiveness, redemption, and moving on.

A simple, unpretentious woman (Renee Richman-Weisband) seeks to face her daughter’s rapist and murderer — a serial offender finally in jail for life — to offer her pardon of sorts so she can unfreeze her life from its obsession. Richman-Weisband grows in her performance as Nancy. You don’t totally understand why you’re meeting her character, but as that character becomes more resolved to have her day in the presence of her enemy, Richman-Weisband makes you feel for Nancy, the pain she has endured, and the pain she will endure. There’s a great plain-spokenness to the character, and Richman-Weisband captures it.

Allen Radway is as good the interviewee, letting us see the mind of a predator who feels more remorse because he lives in a cage than for damaging and ending lives. Radway shows signs of revelation even as he blusters or finds bits of joy in relating his criminal exploits.

Kirsten Quinn continues to do some of the best and most consistent work in the region as an academic who studied serial killers and becomes go-between that brings the killer, his victim’s survivor, and HMS prison system together. Quinn is especially good at showing the smug rule-following ways of the social worker, then flouting them when she sees they don’t work in every situation. Read more reviews on Neals Paper >>>

[Isis Productions at the Walnut Street Theatre Studio 5, 9th and Walnut Streets] March 9-April 1, 2018;

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