Diamondback Online - The University of Maryland's Independent Daily Student Newspaper

Cinderella is back, and she's darker, more morbid and creepier than ever - and chock full of metaphors, too.

The theatre department's production of Timberlake Wertenbaker's The Ash Girl, directed by Leslie Felbain, is a modern interpretation of the timeless fairytale. Interwoven into Wertenbaker's version, however, is a grisly personification of the seven deadly sins and their effects on the deepest trials and tribulations of humanity.

Ash Girl (Liz Brown) prefers the solitude and comfort ashes provide her. Her stepsisters (Kelly McGuigan and Kate Wolfe) take pleasure in her misery, while her deadbeat stepmother (Sarah Shook) is too drunk to notice.

In the play, elements of Cinderella's tale are evident: an invitation to a ball, the magic of the Fairy in the Mirror (Amanda Elkins), falling in love with the prince (Andrew Blau) and losing a gorgeous shoe - all before midnight.

But where Cinderella is pure, innocent and happy despite the innumerable odds against her, Ash Girl is much more human. She comes to us already broken, brimming on the edge of insanity.

As Ash Girl, Brown creates an awkward and insecure persona, making her more beautiful and more human than anyone can imagine. Brown is the personification of the imperfection, a trait that makes her endearing, enjoyable and incredibly believable.

As a result of her humanity, the sins find Ash Girl easy prey, especially with the eighth sin: sadness. The trait, personified as a vixen of despair (Joanna Higbee), forms an intimate connection with Brown, and the pair steals scenes throughout the entire production.

As a whole, however, the sins create visuals of incredible force. Their personification of the animalistic sins is impeccable and their mannerisms are executed like an intricate dance - the strength of the play lies in this powerful choreography.

The set, designed by Sean Urbantke, is sharply angled and exaggerated to match the gothic atmosphere of the play. And the dull, gray walls serve as an appropriate backdrop to the beautifully colored costumes designed by Ivania Stack.

The cast struggles at first to create a believable world, though much of that can be attributed to Wertenbaker's use of complicated dialogue. The poetic language is too much at times, and the delivery of some lines ends up stiff and unnatural; however, some surprising humor does liven the mood.

And Brown isn't the only good actress here. As Ash Girl's stepmother, Shook shows an incredible attention to detail - down to the drunken twitch of her feet - and her depiction of a deadbeat mother is something to be remembered.

Similarly, Ash Girl's friends, Owl (David Olson) and Otter (Jayme Bell), bring a lighthearted happiness to the stage. When Ash Girl is overwhelmed by the sins, her friends swoop down and provide unknowing relief.

Clearly evident is Wertenbaker's idea that happiness and sadness are interlocked and human nature can find both good and bad at the same time. As a result, The Ash Girl takes a child's fairytale and turns it into something everyone can identify with: being human.

The fleeting nature of our emotions is clear in Felbain's direction of The Ash Girl. Overall, the production holds its own, and the strong cast and the steadfast direction make The Ash Girl a force to be reckoned with in the world of fairytales.

The Ash Girl will be playing tomorrow through Saturday at the Ina and Jack Kay Theatre in the Clarice Smith Performing Arts Center. Tickets cost $7. For more information, visit www.claricesmithcenter.umd.edu.

dnhan@umd.edu

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