A Slow Bullet combines comedy with tragedy to explore the darkest parts of depression, some ways to cope with it, and begin moving on after losing someone to it.
Slow Bullet begins with a theater company sitting around, talking about the review of its latest show. The play tells its story through a series of cold reads and flashbacks, but keeps the self-referential tone throughout. (It even includes a few pokes at local theater critics).
After two of Kris’s friends consult him about the dark content of his latest play, we flash forward to his funeral. All of the friends are distressed in their own way: anger, sadness, denial, blame, etc. Like good friends would, each had their own connection with Kris that will be revealed over the course of the show. But, they also serve as archetypes for how people cope with loss as well as their own personal demons.
Kris’ last wish leaves his friends to grapple with a difficult choice: their desire to put on his last play in his honor or burn it as he wished. The decision gets tougher as they consider if the play will hurt the people closest to it or help people who are going through the same struggle.
Through irony, comedy, and mystery, A Slow Bullet weaves a jarringly realistic picture of depression. Of mental hospitals. Of the secrets created by our own shame. And of cries for help that go unheard or unsaid. The topic of the show feels exceptionally timely following the recent loss of celebrities, such as Anthony Bourdain, to depression.
The emotions of the show are earnestly conveyed. That’s what draws you in and makes the story feel real. The comedy provides a nice break at points when A Slow Bullet gets dark, but sometimes it feels misplaced. At the top of the show, the jokes come off as a bit cheesy.
The show is only an hour, so the transitions need to happen quickly. However, sometimes the changes in tone are too fast and it is difficult to tell which is serious and which is funny. A Slow Bullet comes off as a tragedy with comedic elements woven in, but it has the potential to skew towards dark comedy. Which makes distinguishing between the morbid and the amusing all the more important.
The set is simple and uses few props. If there were too much more, it would take away from the raw emotion of the story. The message gets across on the strength of the writing and the acting — the hallmark of a compelling show.
Morgan (Michael Silver) could have benefited from more definite movement choices, but the actors make sincere commitment to their characters overall. The small movements and costume choices, even when in mourning, help to remind us of their neuroses and personalities.
A Slow Bullet is an emotionally moving show. It asks many of the big questions that people often ask following a tragic death. Why didn’t they ask for help? Why didn’t I see it sooner? What do we do now? But, the play does not answer these existential “why” questions. Not because it would be too daunting to fit into a 60 minute show, but because those left behind may never get the answers they need.
A Slow Bullet by Erik Harrison . Featuring Andy De, Michael Reilly, Stacey Kruml, Leanne Dinverno, Erica Smith and Michael Silver . Presented by The Coil Project at Capital Fringe 2018.
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