Jess almost seems to find coming home to Space Station territory as difficult as grappling with burned disfigurement, weak limbs, and little of once-glowing hair from combat in Afghanistan. Nothing and no-one are the same as they used to be. Especially Jess, who’s bitterly embarking on a novel virtual-reality therapy to rid herself of pain and problems at home, both past and present in Ugly Lies the Bone.
Rachel Moulton seamlessly portrays suffering dealing with Jess’s physical and emotional problems, winning sympathy even when she seems to prefer staying harsh. It’s understandable that Jess dislikes Alex Teicheira’s effective would-be smoothie, Nam vet Kelvin. He plays his “injured” status there for all he can get without further service or work.
Moulton’s Jess shares great sisterly fondness with Amanda Jill Robinson’s Katie, probably the most likable character in the play. It takes a while to have Katie assert herself when it’s needed, and it’s difficult for her to continue liking and dating Kelvin as well as explain compassionately her sister’s and their mother’s medical and mental problems. Moulton shows another side of Jess by trying to emulate her long past meetings with boyfriend Steve. He’s now a counter salesman of sweet and salty snacks and sodas. Johnny Shea catches his wishfulness that he were more while acting contented enough.
Unfortunately, Steve married right out of high school and it’s apparent he isn’t happily so.
Vickie Daignault comes on late and nicely as the women’s problem-challenged mother, but all along she’s been excellent as the Voice of the computer-simulated therapist tapes. Jess’s scenes with the tapes are among the most insightful about her issues and even lead to more understanding of those of her family.
Scenic designer Kristin Clippard has managed to make the stage seem larger and more scenic than one expects of Stage 3 series shows. As major director she has much used pictorial elements to bring to life the actors’ motivations. She is surely aided by Andrew Gray’s lighting, Thom Korp’s choice of projections, Nicholas Christensen’s sound bridges and backgrounds, and Daniel Ciba’s appropriate costumes.
Ugly Lies the Bone isn’t really ugly at all. Still, its beauty lies more in its presentation than its action.
