REVIEW by ANTHONY CHASE
Bella Poynton stands unique in theater as the lone playwright dedicated to science fiction, a genre that typically finds its home in movies, short stories, and novels -- or when it does appear on stage, usually in parody. Given this distinction, I approached her new play, The Mighty Maisie, now at American Repertory Theatre of Western New York, expecting an otherworldly journey to a place no man has gone before. What I discovered instead was an unexpectedly uplifting and delightful confection, centered on a porch where no man can go.
The story centers on Maisie (Marie Costa), an adjunct philosophy professor living in a mobile home somewhere between Buffalo and Batavia. Through some mysterious otherworldly phenomenon, her home has become a sanctuary for women, protected by a forcefield that prevents men from crossing her front porch. The play's poster, featuring a 1950s-style Martian flying saucer, offers a playful hint at how this situation unfolds, as, of course, does the reputation of the playwright.
In this Mayberry-like town, Maisie's supernatural porch barrier is simply accepted as fact -- CNN hasn't come calling. The story kicks into gear with the arrival of down on her luck Penny (Maryna Sophia), who has arranged a date with someone she met online. This encounter has proven to be, shall we say, inarguably a bad date. Luckily, after her misfortune, she stumbles into Maisie’s yard.
Director Bocock-Natale maintains a light and humorous touch throughout, even as the production navigates some weighty backstories. These women are all escaping present trauma, yet the play never loses its buoyant spirit.
The cast brings both seasoned talent and fresh faces to the stage. As Maisie, Marie Costa is the heart and center of the production, bringing warmth and very light gravitas to the role. Maryna Sophia crafts a compelling journey as hardboiled, but ultimately naïve Penny, the newcomer whose arrival sets events in motion.
Emily Yancey shines as Zanna, creating a character whose adorable and upbeat nature belies her struggles with addiction. Anthony J. Grande unabashedly and skillfully plays Briggs without nuance or depth, effectively portraying the local cop whose meddling and abusive behavior reveals the darker side of authority, while still managing to land laughs. On the night I saw the show, his final exit inspired the sort of applause reserved for theatrical moments like the melting of a witch with a bucket of water.
Andrew Zuccari takes on the challenging role of Rizzo, June's abusive husband, a nice guy who only becomes angry on those occasions when his wife fails to do what he says. Zuccari manages to find the precise light touch needed for this deeply flawed character, making his comedic insistence land without diminishing the serious nature of his actions.
Among the newcomers, Mariangela Mercurio impresses as June Rizzo, perfectly capturing the complicated dynamic of a devoted friend to Maisie who maintains her skepticism even as she struggles to escape her bad marriage. As Dave the Mailman, Scott Gattie transforms what could have been simple awkwardness into an asset, creating an irresistible love interest for Zanna.
The play delivers several brilliant “Aha!” moments of revelation, notably when Maisie confronts the other women about how they would feel if she dismissed their stories -- the kind of "he said/she said" narratives where historically, family and law enforcement have chosen not to believe what "she said."
Indeed, despite its serious underpinnings, The Mighty Maisie never loses its comedic footing. The play achieves this delicate balance through Poyton's deft handling of tone and Bocock-Natale's nuanced direction. When June describes her husband's controlling behavior, for instance, it's wrapped in the comedy of his absurdly persistent attempts to cross Maisie's supernatural threshold. The production finds humor not in the abuse itself, but in the powerlessness of the abusers when confronted with Maisie's mysterious forcefield. Similarly, Zanna's addiction struggles are acknowledged with respect, while her natural optimism and budding romance with Dave the Mailman provide moments of genuine lightness.
This approach extends to the play's science fiction elements. Rather than treating the inexplicable barrier as a crisis requiring government intervention or scientific study, the town simply accepts it as matter-of-factly as they might a peculiar weather pattern. This casual acceptance of the extraordinary allows the play to focus on its characters' very ordinary -- yet vital -- journeys toward healing and connection. By treating its supernatural premise with such a light touch, the production creates space for both laughter and reflection, never requiring its audience to choose between the two -- and in doing so, Poynton cleverly lures a new and willing audience into the world of science fiction.
The humanity shared between the women and the play's message of perseverance and hope elevate the proceedings at every turn, clear through to the play's two conclusions: first a very happy ending that inspires applause, followed by an epilogue so satisfying it brings the audience to its feet.
This handsome productions with effective costumes by Jessica Rasp and tech elements by Matthew LaChiusa, continues through February 22 at the Compass Arts Center, 545 Elmwood Avenue.
