I don’t know if I will ever look at my happily domesticated and beloved kitties the same.
Cats have enthralled humans for centuries (think Egypt), and they have been “domesticated” for up to 12,000 years. Yet, they stand apart from the other most domesticated pet, dogs, in a way that you have to respect. While dogs will kowtow to their owners, cats push their own agendas unapologetically.
Catalyst Repertory’s production of Feral Boy, the latest from local playwright Bennett Ayres (Mad, Mad Hercules), follows Corbett, a disillusioned frat boy funded by Mommy’s sugar-daddy’s bank account. Newly graduated from college, he is frustrated by the assumptions of his friends and family that he will pursue his future that has been laid before him — a mainstream path of mind-numbing professions (his being Internet advertising). You know something odd is happening from the start when Corbett reflects on how mating cats sound as if they are killing each other, and he shows distracting interest in a feral colony of cats next to his dorm rental. The cats’ independence and lifestyle enthrall him. Corbett becomes engrossed in feline behavior and spends late nights stalking the cats and doing research on Wikipedia (which, as most people know, is just a font of accurate information).
The show is a study of how people seek a place to fit in but want something meaningful in their lives, and suffer from a lack of connection — how easy it is to be attracted to a cult-like mentality, whether it’s a gang, religious group, or something similar
Pat Mullen delivers Corbett’s fascination with the cats in a naive, anarchic way. He is a sheltered adult now who is still a little boy going mad, rebelling against society’s expectations in a floundering, blind way. He slowly falls feral himself by ignoring responsibility, not bathing, not working, squatting in his girlfriend’s apartment, and expecting her to provide for him. Almost like an owned cat might — minus the no bathing. Girlfriend Betsy, a convenience-store clerk (Patty Blanchfield), is persistent in her coaxing of Corbett, first affectionately then with a little tough love, but she finally realizes that his mind is deteriorating.
Cats are voiced in a way that you find yourself focusing on the puppets, not their handlers (if you’ve seen Avenue Q, you know what I mean). The cats are creepy, disturbing, both in attitude and in their facelessness. Patrick Weigand’s creations scream otherness. Mafia flare is reflected in Matt Anderson as Striper, the leader; Dane Rogers as Orangey, the enforcer; and Audrey Stonerock as the powerless Calico, Corbett’s love (think West Side Story). They make these fantastical creatures feel real in personality, voice acting, and movement. The colony’s influence even leads Corbett into his own ruthless actions of torture for information and vengeance.
The shallowness of Cornett’s previous human relationships is set up by the conversation of his frat brothers, Matt Walls and Donovan Whitney, who argue over the correct categorization of potential bedmates. Corbett begins distancing himself from them as well as from the worried yet tentative approaches by his mother (Sarah Holland Froehlke) and landlord (voiced by Jim Tillett), who seem to progressively infer that something is just not right with Corbett. Dennis Forkel plays Crane, a homeowner with a large aquarium, which Corbett raids to bring tribute to his feline ladylove. In his increasing delirium, Corbett even reaches out to a cat-themed magazine, only to get entwined in a voicemail tree from hell (voiced by Jolene Moffatt).
Under the direction of Zach Stonerock, the characters and staging reflect the dark angle of the script that occasional reveals a nimble hand with words, such as describing the indentations left by furniture in carpet as miniature crop circles — a vivid comparison. Projections of cat silhouettes against the back wall invigorate the sparse, black-box environment. However, the play is too long, with no intermission (and hot — be prepared for no AC to speak of in the theater). Some sequences drag. Tightened up and with some workshopping, though, the script could become an even more engaging, compelling work.
- May 18-28, Thursdays-Saturdays at 8 p.m. and Sundays at 5 p.m.
- Wheeler Arts Center
- For this production, Catalyst Rep will house theme nights in tandem with sponsor the LongShot Theatre.
- Feral Boy is recommended for ages 16 (strong language, adult situations, implied animal abuse, and sexual content) and up. However, see the flyer for lots of family fun in conjunction with the show’s run.