Ben & Angela at BeBe Theatre
Before any relationship begins, it exists in a state of infinite possibility. Will these two beings, completely unknown to each other, become friends, lovers, nemeses, or mere acquaintances of no further consequence?
Such a blank slate stands quite literally at the start of Ben & Angela, a new play by Asheville’s David Brendan Hopes, which debuted through The Sublime Theatre & Press on Oct. 5. The stage of The BeBe Theatre usually holds some sort of set or props before a show begins, but here it’s set in its purest black-box form, lit by a warm orange glow.
But Hopes wastes little time in confirming his title characters — played by offstage couple Scott Fisher and Kirby Gibson — as people of momentous import to each other. And over the next two hours, the playwright guides his audience through a richly realized portrait of love and its expression in marriage.
The first act presents a brisk series of vignettes that establish Ben and Angela both as individuals and as a couple. Quick costume changes, coordinated by Kayren McKnight, immediately clarify the time skips from childhood to middle school to high school as the characters meet (and meet cute).
Both Fisher and Gibson do an excellent job finding a steady arc for their characters through the chronological whirlwind. Ben’s adolescent awkwardness grows into an earnest romanticism, while Angela responds to her troubled childhood by developing a confident poise. As directed by Steven Samuels, their dialogue flows amid the natural pauses and hesitations of youth. They bounce and snap off each other in a way that’s a true delight to watch.
And even though the two are the only ones performing, the stage rarely feels empty. Choreographer Kristi DeVille fills the space with the young couple’s spontaneous dances and an energetic, wordless gift-opening sequence. Samuels’ changes of scene place Fisher and Gibson all over the BeBe’s box.
The pace slows in the second act, and the action becomes a bit more sedate, with much of it coalescing around Ben and Angela’s kitchen table. But those changes feel like natural choices to reflect the reality of an ongoing marriage — of course there should be less dynamism, more routine. The initial flirtation can’t last forever.
Hopes embraces this different stage of life to give each of his characters some beautiful longer monologues. Husband and wife slowly reveal new facets, disappoint each other in different ways, and seek reconciliation in precise, vivid language. However, I did find the second-act script to give slightly heavier weight to Ben than to Angela, creating something of an imbalance for a work so centered on a joint relationship.
But that’s a minor quibble, especially given Gibson’s skill at developing character through expression and body language while listening to Fisher. And her Angela gets a chance to shine toward the end of the play as she wrestles through a sleepless night (accentuated subtly but powerfully by lighting designer Jason Williams) amid the couple’s darkest challenge.
At once intimate and universal, Ben & Angela will resonate with all who have tried to sustain love over time. I’d wager that makes it a worthwhile night out for just about anyone.
Ben & Angela runs through Saturday, Oct. 21, at The BeBe Theatre. For details and tickets, visit this link.
(Photo courtesy of Sublime Theatre & Press)
