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Raft of The Medusa
Review

(1996 Season)

BY JIM DELMONT, WORLD HERALD STAFF WRITER

The latest theatrical offering from SNAP (Support Nebraska AIDS Project) is Joe Pintauro's Raft of The Medusa," a cleverly titled, dynamic show,
skillfully directed by Michal Simpson in the smaller Upstage theater space at the Rose Blumkin Center for the Performing Arts.  The raft in this case is a therapy-encounter group of AIDS sufferers, 11 of them plus a therapist (ably played by Kay Johnson). The patients, all able to get around despite varying stages of illness, make for a dramatically interesting mix. That mix includes an irritable black man, a famous actor, a speech-impaired black woman, a hoaxer, a chilly heterosexual blonde who blames the gay men in the group for spreading the virus, a Hispanic man, a 17-year.old girl and a man who has just lost his lover to the disease.

A 12th character is the deceased lover, Donald, who appears here and there as a fantasy figure (interestingly played by Rodger Gerberding, whose rich compelling voice underlines the laden significance of the character except for the opening scene, in which Donald dies in the presence of his distraught companion Michael. (personable Todd Brooks) and his psychiatrist, Jeri, the entire play is an 80-minute group session, presented in one run.

Group theater is almost always interesting because of the clash of personalities it offers and the opportunities for the playwright to use multiple conversational flow to build to climaxes, pauses and renewals of tensions.

Pintauro manages to leaven his play with humor while also building to miniclimaxes and to one big, cathartic climax near the end. It is an interesting, intelligent play, and the characters ring true.

Some characters (the actor, for instance) are still in denial and have to be bullied or coaxed into accepting the truth about themselves. However, "Medusa" is never preachy and is generally bereft of ideological messages, prefering to emphasize the humanity of its characters, their grumpiness, kindness, selfishness, wit and capacity or lack of it for empathy and compassion.

The language is definitely rough, and some of the anatomical references especially by the loutish Alan (well played by Camie Lind) might offend some.

Impressive among the cast are Emily Jane Moore as Nairobi, the speech-impaired drug user; James Laurent as the actor; Marty Magnuson, cheerful and flamboyant; Dawn Josoff as the snooty blonde; Michael Pujado as the engaging Hispanic; Brenda Kelley as a religiously serious woman; Bill Bohannon as Doug; Lauren Pieper as the teen-ager; and Sherrnan Bass as Larry..

With its group dynamics and frank language, this is defmitely a play for adults.