REVIEW by ANTHONY CHASE
In Karissa Murrell Myers's psychological thriller Black Bear Island, now playing at Alleyway Theatre, the playwright creates a world where, as director Daniel Lendzian puts it, "the bridge between past and present is blurred, and where echoes of what was reverberate with what is." Here, the past is never really past; it lurks in the shadows, prowls at the edges of consciousness, and sometimes -- when we least expect it -- pounces with devastating force.
The play centers on Amitra, portrayed with resigned intensity by Gabrielle Nunzio, who returns to her childhood home after a 16-year absence following the mysterious death of her estranged childhood sweetheart Warren, played with aloof and cryptic serenity by Russell C. Holt. Set on an island supposedly haunted by a monstrous man-killing bear, what unfolds is a psychological thriller that weaves between past and present as it explores trauma, memory, and the destructive nature of obsession.
As Amitra reconnects with the island and interacts with locals -- including her neighbor Marjorie, the chatty Mrs. Kravits of the piece played by Kathleen Rooney, and a troubled young girl named Ruby played by Kira Whitehead -- she begins to experience visions of her past self (Alejandra Sutherland), and Warren as a teenager (Connor Raposa).
Daniel Allen's scenic design reconfigures the Alleyway Theatre space to startling effect, creating an environment where reality and memory blur. Emma Schiminger's lighting and sound design add depth to the atmospheric experience, amplifying the disorientation of space and time that is central to the script's effect. Light even filters up through the bridge-like floor.
Myers employs a non-linear structure that effectively builds tension and mystery. The alternating timelines create a disorienting effect that mirrors Amitra's fragmented memories and establish a dreamlike quality throughout. Audiences might initially struggle with some transitions between memory and reality, but as the pace accelerates toward the climax, viewers become completely transfixed.
The play draws from multiple literary traditions, incorporating elements of Gothic literature in its isolated setting and haunted protagonist. There are clear echoes of teen horror movies like I Know What You Did Last Summer, with a return to a location of past trauma, the weight of secrets, and an isolated setting that heightens vulnerability. The play's non-linear structure and dark themes evoke Martin McDonagh's The Pillowman, while its exploration of family secrets recalls Sam Shepard's Buried Child.
The characters who populate this world are well-drawn with distinct voices and clear motivations. Nunzio's psychological journey from denial to remembrance forms the emotional core of the production, while Raposa’s transformation as Warren is chilling and believable. Whitehead's Ruby serves as an effective parallel to Sutherland’s young Amitra -- both wild, troubled girls with difficult home lives, Whitehead giving Ruby an air of careless non-conformity, countered by Sutherland’s dose of ruthless severity. Rooney's Marjorie is a delightful creation, functioning well as both comic relief and the voice of community judgment. The mysterious nature of the story precludes saying more about the characters.
Ayden Herreid brings affecting vulnerability and yearning to the role of Finn, Warren's younger brother. Initially portrayed as simply annoying and desperate to fit in, Finn's development shows significant moments of growth and insight. In one revealing scene, he teaches Ruby knife-fighting techniques, displaying a protective instinct that contrasts sharply with Warren's more possessive "protection" of Amitra.
It's worth noting that many cast members -- including Nunzio, Sutherland, Raposa, Herreid, and Jared Eichel (who plays dual roles as UPS Guy and Man) -- all hail from SUNY Fredonia, where director Lendzian is on the faculty. This connection has yielded an ensemble with notable chemistry and assured stage presence.
Anna Krempholtz's fight choreography both adds excitement and advances the drama as the physical conflicts echo the psychological battles being waged. The staging of these moments feels both dangerous and expertly controlled.
Myers's dialogue is one of the strongest elements of the play, with teenage characters speaking in authentic voices and capturing adolescent intensity. The playwright effectively uses repetition, overlapping dialogue, and even silence to create lifelike interactions among believable people.
Black Bear Island is an ambitious, psychologically complex play that explores how trauma shapes identity. Myers skillfully balances supernatural elements with psychological realism, creating a disturbing meditation on memory, guilt, and the impossibility of outrunning one's past.
Black Bear Island runs at Alleyway Theatre through March 8, 2025.