‘Dead Man’s Cell Phone’ is Drop-Dead Amazing

By Kori Tuitt

The modern play “Dead Man’s Cell Phone,” was the Stony Brook University Department of Theatre Arts’ first performance since the 2009-2010 school year. The play by Sarah Ruhl is about Jean (Nancee Moes), a woman who realizes a man, Gordon (Diogo Martins), has died while sitting at the table across from her in a café. Jean becomes intertwined in Gordon’s personal life by answering his cell phone calls, which eventually becomes an addiction for her. Eight performances of  ”Dead Man’s Cell Phone” were scheduled from November 17 – 20 and December 1 – 4 in the Staller Center.

Director Deborah Mayo chose this play because she thought that it had “six good parts for young actors.” She also double cast two roles so that more actors would be given the opportunity to participate.

Since I knew this play would present the theme of the connection between the living and the dead, I thought this would be a great opportunity for a creative performance. I anticipated that the show would be appealing to a younger audience because of its modern theme. I also wondered how well they would be able to transition scenes and sets to distinguish between the living and the dead.

Although the title may seem a bit gruesome, the actors were very humorous and the play was quite sweet. Jean expressed comical remarks and mannerisms. Gordon’s brother Dwight (Eric Klouda) was nerdy and overly excited by the blossoming romance between him and Jean. Mrs. Gottlieb, played by both Victoria DiCarlo (who performed the night I attended) and Andrew Breslin, is Gordon’s boisterous and dramatic mother. Gordon’s widow, played by both Becky Goldberg (who also performed the night I attended) and Kelsey Cheslock, showcased her humor in a drunken mourning scene. Gordon’s mistress (Cassandra Reissig) expressed her confidence in an amusing way, contrasting Jean’s conservative appearance.

The actors who were double cast help to transition scenes when they were not performing.

Ally Mihailovich, the student technical director of the show, was in charge of the safety aspect of the set building. She did not have many expectations of the show. “I was just really excited to see how it was going to come out,” she said. Her favorite part was the scene when “snow” fell from above onto Jean and Dwight.

“I really do like the play,” she said.

Tom DiCarlo, father of Victoria DiCarlo, said, “I loved the performance–I didn’t like the writing.” He explained that the playwright’s voice was too evident in all of the characters.

The play also presented the concept of how well people communicate today. In the play, Jean never owns a cell phone, so possessing Gordon’s phone  is a new experience for her. Throughout the play she is adamant about keeping it and is determined to answer every call. Many characters express their displeasure when people  yell into their cell phones with no regard for their privacy or others around them.

Reissig said, “I want them [the audience] to take away the attachment of our society to technology and how we don’t actually connect anymore.”

Goldberg described it as being “artificially connected.”

Although the play was carried out in a comical way, it also portrayed the very realistic theme of mourning. Breslin explained that the play also provided “recognition of the grief cycle and how so many people go through the different stages so differently.”

Not only were the performances entertaining, the scene transitions were smooth and swift. The play featured periaktoi, which are three-sided mobile columns that are turned to display new backdrops for scenes rather quickly.

Christopher Brown, who was in charge of the lighting design, did an excellent job in enhancing the performances, making scenes more captivating. In the church scene hanging stained glass is lighted to give the full effect. Also, during Gordon’s monologue, the lighting on his face is reflective of how passionate or enraged he is while recalling the events that took place on the day he died.

“Dead Man’s Cell Phone” maintained the audience’s attention throughout many serious themes because of its odd comedy and captivating performances. Although there were mishaps that both Moes and DiCarlo recounted, sitting in the center of the first row, I did not notice anything out of place.

Mayo explained, “We rehearsed the play for five weeks (five nights a week for three to four hours a night) then two full day technical rehearsals and three dress rehearsals before we opened.”

This rehearsal time definitely paid off. Although the show was two hours long, includeding a 15 minute intermission, it was a delight from start to finish. I found myself smiling and laughing throughout many parts of the play and was eager for the play to resume during the intermission. It was no surprise that almost every seat was occupied. I am definitely looking forward to seeing what production the Stony Brook University Department of Theatre Arts puts on in the spring.