Giants

GiantsWho said fairy tales are for the children? No one at the Here Arts Center, that’s for sure. Giants the latest production from Studio 42, is a child-like fairy tale fusing child-like innocence with startling parallels to the modern world.Written by Laura Van Holt, Giants tells the story of two siblings who find each other after an apocalyptic battle that kills the entire population of the island they live on. The residents had been divided into two groups – the Spots and the Bumps – who battled each other until a plague killed the remaining survivors. Giant, and his younger sister Button, are the only ones left.We are introduced to them both in rapid succession – Giant, alone and embittered, and Button, spunky and determined. Button has traveled across the island to find Giant and bury the body of their sister, Tenderly. Giant is less than welcoming to his sister, who is determined to reconnect with her brother. When the two set up housekeeping together and attempt to clean up their beloved island, their personalities and philosophies promptly clash, resulting in revelations and growth for both of them.Staged on a mystical set, reminiscent of a Van Gogh panting, the play’s aesthetics are distant enough from reality that it can be viewed as a fable or parable, instead of a story staged in realism. Button, played with a childlike determination by Autum Hurlbert, slightly resembles a Cabbage Patch Kid, while Giant (Michael Markham) bears a resemblance to a little boy’s action hero figure.The story of the two survivors can be interpreted – and applied to past and current events – in various ways. The racism between the Spots and the Bumps could be paralleled with America’s Civil War, or with the Sunnis and the Shiites overseas, as well as countless other fights and feuds. Giant’s desperation for order and organization, as well as his unfaltering faith in his leaders could be inspired by any number of historical events or wars in America’s past.“The point of every war is hope,” he tells himself, listening to motivational recordings by his former generals. He prides himself upon his mechanical productivity and lack of personal attachments, which are deemed “strange” by the army. This complex and confusing character is portrayed by Markham in a delightfully understated, yet brutal, performance. Markham explores Giant’s sensitive nature, hidden by his gruff strength, and combines the two to create a sympathetic, humane character. He works remarkably well with Autumn Hulbert’s Button, who gives Button an innocence that is enviable, as well as plausible. Her earnest attempts to reach her brother and create a new life are almost heartbreaking to watch. Lisa Barnes’ woefully short time onstage as their mother puts her comedic skills to great use, as does Evan Lubeck’s bewildered innocence as the Boy.These powerhouse performances are enhanced by the skillful use of background music, which contribute to the characterization as well as the setting and mood of the show. The set shifts slightly during the second act, but other than that the stage remains stagnant – a wise decision, because it does not distract from the acting or the story.The show is short and simple, and the ending is a satisfying one, leaving the audience with hope for a happy ending. Maybe Giant was right, and the war accomplished what it needed to, after all.