By Ruth Ross
Coming late in October—at the tail end of what is considered hurricane season—Hurricane Sandy was the deadliest storm of 2012 and the largest American hurricane on record. A hybrid of a tropical storm, a cyclone and a snowstorm, this Superstorm caused $65 billion of damage in the United States alone, affected 24 states and severely damaged the coasts of New Jersey and New York, along with streets, tunnels and subway lines in New York City. The coastal areas of Staten Island, especially the low-lying communities of Ocean Breeze, Oakwood Beach and Graham Beach, were especially hard hit by 80-mph winds and rising Atlantic Ocean waters. Fed up with being inundated so many times, many of the residents accepted a buyout from the state of New York so their homes can be demolished, the area returned to nature and they can move to safer locations.
To accept the state's offer and leave, or stay and rebuild both home and community is the question central to Sharyn Rothstein's poignant On the Water, now receiving its New Jersey premiere as the first production of appropriately named Premiere Stages' 2015 season. Directed by Adam Immerwahr, this well-acted, gripping drama addresses the plight of the Murphy family, long-time residents of an unnamed community whose neighborhood (and marriage) are threatened by the storm. Will Marty Murphy be able to persuade his neighbors to stay, or will long-held secrets laid bare by the storm derail his attempts, his marriage and his relationship with his two grown sons?
Rothstein starts the action slowly—perhaps a tad too slowly—as the Murphys return to their shell of a home with high hopes of rebuilding the wreck, despite the misgivings of their older son Sal, who has left Staten Island for Manhattan and now urges his parents to leave the devastated area. As Marty, Brian O'Neill (above, left) is stalwart in the face of adversity, brushing aside any objections to his long-held beliefs—a bit of a tyrant, if you will. Jo Twiss's Mary (above, right) is supportive in a rather subservient way, never contradicting her husband's optimism, but a remark made by Sal hints at a troubled relationship. O'Neill and Twiss are consummate performers; the chemistry between the two is totally convincing, and their delivery natural. It is very easy to believe that they are a long-wed couple. O'Neill assiduously lays insulation, puts up sheetrock and makes posters to lobby his neighbors to reject the state buyout and stay in the community. Twiss bustles about, making sure there's food on the table (the refrigerator is still working, she proudly announces), trying to maintain peace between her husband and Sal, and nagging Sal about her becoming a grandmother.
The two brothers, Sal and Brian, are a study in opposites: Sal has a Master's Degree, a good job in high-tech, a successful wife and an apartment in Manhattan. Brian is a recovering addict, now working as a short order cook at an Olive Garden and attempting to rebuild his life.
Terrific support is provided by Deanna McGovern as Emily, Brian's newly divorced former girlfriend, and Sheila Stasack (right, with Twiss and McGovern)and Damian Buzzerio as neighbors Andrea and Phil Carter, who have decided to move to Montclair. In fact, it is Phil who sets the ball rolling that eventually reveals the real reason Marty won't give up his house. The subsequent confrontation between Marty and Mary provides the play's doozy of a climax wherein secrets are laid bare, questions previously raised are answered and decisions have to be made. It is here where O'Neill and Twiss really shine. Her hurt at learning the truth is palpable and heart-breaking, and while his admissions are despicable, we can sympathize with a man who has made many mistakes and, attempting to rectify, them has jeopardized family relationships.
Anya Klepikov's spare set suggests the devastation from Hurricane Sandy without distracting from the familial devastation unfolding before our eyes, while Brant Thomas Murray's lighting design is appropriately atmospheric. Karin Graybash has provided the thunder and driving rain sounds that lets us know from the outset that a storm has occurred while heralding the psychological storm that is yet to come. Karen Hart and Dori Strober's terrific costumes fit each character to a T, from Mary's shapeless sweaters and ski jacket to Marty's jeans and flannel shirts to the radically different attire worn by the sons.
Adam Immerwahr once again shows us the master director he is. Once we learn of the buyout, the play marches inexorably to its denouement, marshaled by Immerwahr's steady hand.
On the Water is a heart-breaking look at a major problem faced by all communities nearly or totally wiped out by such a superstorm. We here in New Jersey read even today about the plight of the residents of our shore communities, but the destruction of the low-lying Staten Island beach communities demands our equal attention. The toll that such a storm wreaks on physical surroundings is accompanied by the potentially disastrous effect on familial relationships, as well. Sharyn Rothstein provides us with a satisfactory, albeit an un-fairy tale, ending. We don't know if the Murphy family will live "happily ever after," but they will probably learn to respect and appreciate each other in new ways in their new homes.
On the Water will be performed at the Zella Fry Theatre in the Vaughn Eames Building on the campus of Kean University, 1000 Morris Avenue, Union, through August 2. Performances are Thursday, Friday and Saturday at 8 PM, and Saturday and Sunday at 3 PM. Tickets are $30, $20 for seniors and $15 for students; group discounts are available (this would be a good show for group attendance). For information and tickets, call 908.737.SHOW (7469) or visit www.kean.edu/premierestages online.
