In ‘Curse of the Starving Class,’ Syracuse University’s drama department provides a fresh and realistic portrayal of a dysfunctional, lower-class family that experiences a struggle with authority and the maintenance of its ranch. The dark comedy is now playing at Syracuse Stage through April 10.

The story of the Tate family is one that is not uncommon. The family members have communication issues, and their ignorance for one another’s personal challenges hinder their ability to move past even the smallest of conflicts. Eventually they experience moments of revelation that change their lives, usually for the better. The story of the Tate family’s experience with this sort of dynamic with much higher stakes makes the story very original.

Gerardine Clark, a professor in the drama department, directs SU’s production of ‘Curse of the Starving Class.’ The task of making this show come to life is not an easy feat, due to its deeply emotional content. Clark’s direction displays writer Sam Shepard’s work beautifully and to its greatest artistic potential. Each scene and act weave together cohesively, leaving questions to be answered and problems to hopefully be resolved. Clark’s vision and motive for each of the characters shine through continuously. The only misstep is that the play is challenging to understand for those whose knowledge of drama and the nuances that bring a play to fruition are less developed.

Much praise must be given to scenic designer Sarah Oziemkowski, a junior scenic design major, whose set for ‘Curse of the Starving Class’ transports the audience to the desperation and near poverty that is the Tate family’s ranch in 1960s California. The set is reminiscent of a television stage, aesthetically realistic and seemingly functional for real use.

Will Pullen, a sophomore acting major, takes on the emotionally distressed son Wesley Tate, and shows great dramatic ability in his portrayal, which stays consistently strong in the many different situations he experiences. The maturity his character takes on shines through, making him the authoritative force in many of the play’s scenes, especially between him and his mother. The epitome of Pullen’s dedication to the role is shown in a brief yet powerful nude scene, where he charges across the stage without any clothes. He demonstrates great courage in this scene, which is tastefully directed and superbly performed.

Alanna Rogers, a senior acting major, plays the role of a morally selfish and burned-out mother with a professionalism of a Broadway-credited actress. Her every action stayed consistent with the ideas and motives she set out for her character. Though her character loses power in many of her scenes with her onstage son, Rogers’ presence reigns superior.

Another notable mention goes to Phil Blechman, a junior acting major, as Weston Tate, the alcoholic father who experiences a lifestyle shift as the play progresses.

Performances that were not as strong belong to Ross Baron, whose portrayal of Sgt. Malcolm, while brief, brought down the energy of the rest of the production and seemed lost among stronger performers.

Overall, the cast of drama department students dealt with difficult material, which they had to bring to life and use to generate sympathy from the audience. The performers did incredible work, with some of the major players shining brightly.

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Published on April 3, 2011 at 12:00 pm

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