The run of this revival of Christopher Kyle’s PLUNGE was slated for a mere five days originally. Happily, as I write this, that schedule has changed, adding another two weeks of life to this skillfully executed, low on frills, endeavor.

The performance space is 12 flights up, and down a corridor, around a bend, and then off again, and despite the lack of stadium seating or any other amenities, I still believe you will be glad you came (petite folks like me might want to get there early to secure a spot in the front row). The performance area is limited, but the talented Robin A. Paterson, director and designer of PLUNGE, has managed to get a swimming pool in there. Partially hidden by screens, the pool area is suggested more than shown, but that works so well both visually and psychologically with this particular play.

As one might imagine, PLUNGE is both a literal and metaphorical title. There is the omnipresent pool, of course, but the play itself is about a gathering of friends who, in spite of how settled or unsettled any of them seems on the surface, have in large part never taken the big plunge that demarcates the transition to real adulthood. Clare sleeps around, and has committed a drunken indiscretion with co-worker Harris, who just happens to be married to her best friend Val. That same night, Clare beds Jim, an office temp who is quite vocal about his feelings for her. In contrast, Matty has simmered in silence since college. Harris is in love with parenthood and Val has a gal pal. So, PLUNGE is really a query into who will take one.

The impressive Bridge Theatre Company has done Christopher Kyle proud with this production. With a fine ensemble on the front line and an able design team backing them up, why not take the PLUNGE? I think you will be glad you did.

- Kessa De Santis -

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