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a Drama
by Laura King

COMPANY : Onion Man Productions [WEBSITE]
ID# 5115

SHOWING : September 08, 2017 - September 24, 2017



Fallout by Laura King
Directed by Celeste Campbell (2017 MAT Award Nominee)
Starring, 2017 MAT Award Nominee, Markia Chappell and Fred Gaylean.

The warning sirens have sounded, but can Anna and David survive the fallout?

Georgia Premiere!
September 8th to 24th
Thursday, Friday and Saturday at 7:30 p.m.
Sunday at 3:00 p.m.
Tickets $12-$16 can be secured at

Director Celeste Campbell
Stage Manager Darla Mitchell
Fight Choreographer Paige Steadman
Assistant Director Liz Bigler
Anna Markia Chappelle
David Fred Galyean
Click to Submit Cast & Crew Info for this production


All In
by playgoer
Monday, September 11, 2017
Laura King’s "Fallout" starts with the wailing of a siren and the sounds of footsteps hurrying down the stairs to a basement bomb shelter. In come David (Fred Galyean) and Anna (Markia Chappelle). It’s Anna’s bomb shelter, built by her father and re-stocked on a regular basis by Anna to have several months’ supplies at the ready. David is the guy who mows her lawn and who happens to have been at her front door when the siren started. Anna is going to save David from whatever is happening outside the secure bomb shelter. But is some saving within also called for?

The set designed by Tony Pearson is a bit of a disappointment, more in execution than in concept. The door, stage right, is surrounded by faux cinder block; the walls are faux concrete. Both are more "faux" than might be hoped. There’s a toilet in a nook by the door, a table and chairs center, a day bed up center left, and shelving units around the perimeter. Although the shelves are stocked, there obviously is not the months’ worth of goods the script describes. A perspective painting of shelves reaching into the distance might have been more effective than the conglomeration of unused props surrounding the stage. One touch I really like, though, is the stacking of the games "Life" and "Risk" up left. What two words better describe being holed up in a fallout shelter?

Both David and Anna have secrets that are gradually revealed in the course of the play. David’s big story involves a rescue attempt for a child trapped in a well too narrow for an adult to fit in. There’s a detail or two missing from the story, since a parallel hole and sideways tunnel breaching the well don’t immediately allow access to the child. Does the well open up into a wider cistern at the bottom? Is the breaching tunnel feet above the child? Since we’re not told, the logistics of the story don’t seem to add up.

Celeste Campbell has done a fine job of blocking the action to allow the action to be seen, although there’s a fair amount of lying on the floor when lying on the daybed would seem to be a more natural activity (but one distancing the audience from the action). Paige Steadman has created fantastic fight choreography that adds true excitement and believability to the show.

Ms. Campbell has gotten good performances out of her actors and has shaped the action to highlight its dramatic outbursts. Mr. Galyean has great ease and power on the stage, although the script has him popping Valiums that seem to have limited effect except in isolated moments. Ms. Chappelle doesn’t have the ease onstage of Mr. Galyean, but acquits herself well. There’s one line reading, though, that bothered me on opening night. Anna’s big secret involves her father, who has been established to have died after military service. When David comments "I thought he died in a blaze of glory," it comes across as a sincere question, with no hint of sarcasm. That makes the moment seem like a case of the playwright having forgotten the flow of the story across multiple revisions, while a more skeptical line reading would flow smoothly.

James Beck’s lighting and sound design work well, allowing the script to come alive onstage. Ms. King may make some revisions to improve "Fallout" as a result of having seen the play brought to life, but there’s a good story, good characters, and a good flow already in place. As a long one act two-hander, it’s eminently producible. [POST A COMMENT REGARDING THIS REVIEW]


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