Say "YES" to the YES

Outside the Pascal home in Washington DC, a hurricane is raging, but it’s nothing compared to the storm that’s going on inside.

And while every family has it’s share of skeletons in the closet, the Pascals have some of the worst—and they’re all about to be revealed when Marty brings his fiancée Lesly home to meet his clan.

That’s the basis for dark comedy The House of Yes by Wendy MacLeod, the current production at Off The Wall Productions in Washington PA.

Director Robyne Parrish opens the play with a stylized and highly choreographed dance that sets the tone for the madness that’s to follow in the next ninety minutes.

Mrs. Pascal, matriarch of this odd family, is played to perfection by Virginia Wall Gruenert.  Awash in marabou (and wearing amazing shoes), she is a gorgon of a mother.  Constantly darting between maternal denial and emotional blackmail, Gruenert spouts platitudes about family, motherhood and the Kennedys—all delivered with a rapier sharp edge.  She has a real knack for delivering Pascal’s deadly one-liners.

Mrs. Pascal has three children; she’s not sure who any of their fathers might be.  Yes, it could be her husband, but it could also be any man she’s ever met at a cocktail party.

There are the twins Marty and Jackie-O, both obsessed with the Kennedy assassination—and both harboring dark secrets.  As the Jacqueline Kennedy wanna-be, Lauren Michaels is maniacal, yet funny…in a very creepy way.  She will make you laugh and frighten you all at the same time.

As Marty, the brother who yearns for some normalcy, Justin Mohr seems normal enough…in a very creepy way.  Mohr is able to quickly shift gears between being a nice guy to being a cold-hearted jerk.

John Steffenauer plays the younger brother Anthony, creating a character that is vulnerable and endearing…in a very creepy way.  Burdened with caring for his crazed and violent sister, Steffanauer is immediately smitten by Marty’s fiancée Lesly, who works in a donut shop (played by Erica Cuenca).  Cuenca is delightful as the fish-out-of-water, the only voice of normalcy in this world of insanity.

Cuenca and Steffenauer share some of the plays best scenes.  The subtleties and the silences they share are so telling.  Each is able to say so much with a single look or gesture.

Director Parrish keeps the play moving at a solid pace.  There are some uncomfortable bumps in the road, however.  Twice during the show (and I don’t want to give anything away), one of the actors is blocked to break the “fourth wall” which seemed inconsistent with the overall tone of the play.  After the dramatic climax, Parrish stages a tableau vivant that may destroy the final applause for an audience that is smaller and less-enthusiastic than the one that was there for opening night.

Scenic designer Paul A Shaw once again transforms the small Off The Wall stage with a whole new look, featuring columns, draperies and unusual statuary.  One drawback was Michael E. Moats’ lighting which had some obvious dark spots.

The House of Yes is a roller coaster of comedy and tragedy—and well worth the drive to Washington to see it.  Not only will you have a good time, you’ll feel so much better about your own family!

The House if Yes runs through December 17.