A explosive premise ripped from the headlines of a not-so-distant possible future: the imprisonment of four political prisoners of an authoritarian USA, held up in a local national monument turned prison, enforced by a right wing, Christian Nationalist militia. Each captured for different reasons for upsetting and exposing the unfairness of their society, they will be tested mentally, physically, in every single way imaginable, with little hope for survival. This is not a subtle show; that word has been demolished and abandoned in this timeline created by playwright Mike Rice and directed by Scott Cordes. Although the play doesn’t directly mention any specific political figures, you have no doubt who and what they are referencing throughout this intense three act show. A warning for extreme violence, language, homophobia, racism, sexism, bigotry, death, guns, and more for anyone that might want to see this incredibly visceral and topical show.
The actors are perfectly suited for their characters, each a parallel to figures in our own society. The lumbering Robert Vardiman is our sage with simmering rage ex-football star Marcus Boston, a combination of Colin Kaepernick and various players. Scott Turner plays the wry, thoughtful, Paul McDermott, a casualty of upsetting the wrong right wing bootlicker on a viral video. Jessica Whitfield plays a reticent Jennifer Rhodes, a reporter who got too close to the truth of prison, and Curtis Weber plays the rude and virile Tommy Gerrano, a punk rock drummer and podcast host who initially leads us into this world of misery. Our main hosts, however, are played by Matt Donovan and Rebecca Ralstin as the Tobias and Nelsoe Marchlewskis, the cruel, bigoted, self-righteous heads of the Christian Nationalists Shadow of God, and operators of this illegal “re-education” facility. Through security cameras and heavy arms, their fragile egos and brutally archaic ways put our prisoners through the ringer. All the dialogue between the characters feels natural, fast-paced, and authentic to each person and their backgrounds and motivations.
At times a history lesson on our ugly past, a harsh commentary on our developing present, and a terrifying look into a potential future, “The Enemies from Within” does not take prisoners, or at least, does not allow them many opportunities to make mistakes. A fiery example of what Fringe festivals can provide.
