Burning Coal Theatre’s production of The Heretic is well done and artistic in its execution, but the controversial material within this British comedy is sure to turn off certain audiences. This being its U.S. premiere, the show is a bold display of witty yet relentlessly offensive humor.
This dark comedy by British playwright Richard Bean is about climate change and its skeptics. It follows Diane Cassell (Julie Oliver), a university lecturer who debates with her boss and former lover Professor Kevin Maloney (Holden Hansen) about her sea-level research that challenges the university’s stance on global warming. The debate escalates into a fierce controversy in which Cassell receiving death threats among other criticism for her outspoken behavior.
Meanwhile, Cassell’s anorexic daughter Phoebe (Emilie Blum) is present when her mother meets her newest student, radical environmentalist Ben Shotter (Chris Raddatz). As the two are instantly attracted to one another, this subplot coincides with the strained relationship between Cassell and Maloney. As the story unfolds, the heart of the play is grounded in satire and social criticism as it uses these characters to comment about some of today’s most debated topics.
Director Jerome Davis does a fantastic job of bringing this material to the stage in a manner that is both dynamic and refreshingly innovative. This theatre-in-the-round production uses limited set pieces and a small stage to draw attention to character interaction throughout the production. Audiences can see Davis’ appreciation for Bean’s work displayed here—His choice to use more bleak lighting and simplistic technical effects correlates well with the tone of the comedy’s script, which is certainly not light-hearted.
The casting is another highlight of this show. Julie Oliver magnificently plays the independent, complex and unorthodox protagonist. Both her physicality and vocal expressions dictate the self absorbed and fiercely determined aspects of her character. She and Holden Hansen demonstrate flawless chemistry, which enhances the intrigue of scenes between them brilliantly.
Shotter is by far the funniest character and it is easy to appreciate Raddatz’s performance. His cleverness in bringing this earthy persona to life is more than formidable, and it blends perfectly with the eccentric and spontaneous aspects of Phoebe’s character. It works for this play to have a small cast because it gives the audience a chance to really learn about these characters and how they interact with one another.
Though the cast and crew do a tremendous job, the script is definitely not for everyone. With relentless profanity, religious slurs and sexual innuendo, it’s understandable for some viewers to be offended. Furthermore, Bean spends so much time making a point and grounding the play in a pretty dark atmosphere that it doesn’t feel like a comedy—it plays out more like a satirical drama with humorous moments here and there.
By the time the show was over, I wasn’t quite sure how to feel. I wasn’t uplifted, but I also wasn’t awakened to any deep philosophy that the play seems to make an effort to convey. I’ve seen other comedic plays and films that doubled as social commentaries and whether or not I agreed with their messages, the majority were entertaining and creative in their presentation. The Heretic can be difficult to enjoy because of its bleak script—it is a dark, heavy and controversial comedy, but in some sense doesn’t that make it a drama?
Davis and his crew demonstrate true artistry in this production. It is no doubt well acted, well directed and cleverly written. While The Heretic will likely appeal to indie crowds and smaller audiences, it is difficult to recommend this play to mainstream audiences—even the most mature viewers. Whether you can enjoy The Heretic is ultimately a matter of personal taste.
