Stage Review - Good Water (NW Original Works)

Stage Review - Good Water
Presented By: Northwest Original Works @ The Theatre Off Jackson, Seattle, WA
Show Run: January 18 - January 20, 2024
Date Reviewed: Thursday, January 18, 2024 (Opening Night)
Reviewed By: Greg Heilman

What is it about apocalyptic dystopian stories that seem to resonate so much with audiences? Why do we seem to have an affinity to stories that paint a bleak future, where humans have done something to bring the species and the planet to the brink of absolute destruction? Is it because we recognize our shortcomings and look at these stories as a warning? Or is it because we look at a future that is worse and feel better about the present? Either way, stories like these have always been prevalent in the zeitgeist, and the ones that work best are typically those in which we see some of ourselves, or ones in which we can easily connect the dots between something happening in the present to the dystopia presented on screen or on stage. Good Water, written by local playwright Jessica Moreland, is of that ilk. Set sometime in the future, ostensibly after climate change has jumped over the tipping point, and humans have ravaged the land and themselves in the process, it’s not hard for one to imagine a fairly straight line between the amount of care given to the planet in the present day and the environment depicted on stage. The latest production in the ongoing construction of this work is onstage for one weekend only at the Theatre Off Jackson, presented by Northwest Original Works, and directed by Max Koh. The piece is an introspection, not just into what can happen leading the world to ruin, but also about whether or not humans are redeemable at all, especially given the context of the situational context on stage.

In Good Water, Holly Vander Hyde plays Mica and Katie Dreessen is Hesiod, two former co-workers that appear to be the last surviving humans in the resultant hellscape that is earth in the future. It’s constantly raining, but at the same time clean drinking water is at a premium. The pair live by their generator, which seems as though it doesn’t work more than it does. Mica and Hesiod are a bit of a dichotomy. Mica is the more content of the two, though hope could be confused for resignation, while Hesiod is the pragmatic one, determined to survive, even if that involves leaving the sanctuary of the cabin that the pair have taken residence in. Perhaps Mica is more content because of Pandora. Pandora is a being of artificial intelligence that Mica created to keep her company, or perhaps to help her fill the hole in her heart after a devastating personal loss. Pandora, played by Leah Shannon, is curious and a bibliophile, working through all of the books that Hesiod has brought with her to the cabin. Pandora has her own companion, Nyx (Shona Carter). Nyx is the voice in Pandora’s head, her conscience, and the last of her kind left, daughter of Chaos and Greek Goddess of the night. Perhaps you’ve noticed the trend. Nyx is the only god here, but there’s a lot of Good Water that is influenced by mythology, including a well known box, all of this adding to the mystery and the mystique of the piece.

There are themes here that have been tried before, some more effectively than others. Jessica Moreland’s work is one that, for my part, is on the more effective side of things. The story is constructed very well, with Act 1 providing the who, what, and where, while Act 2 fills in the how and the why. Jessica’s dialogue is natural, her characters relatable, and the message clear, though she’s able to do that with enough mystery as to not provide answers, but rather she leaves that in the hands of the audience, calling on each to determine how they want to move forward with the information presented here. It’s the kind of story that doesn’t need any elaborate dressing to be told well, in fact the set here is simple. Designer Juli Brown presents two primary locations, both within the pair’s cabin, a main living area, where Mica and Hesiod do most of their living, and an attic where Mica has housed her AI creation Pandora. There are also some external to the cabin locations that are easy to discern, despite sharing the stage with the other settings. Director Max Koh I feel has captured the heart of Jessica’s story, allowing the actors to move in a natural way in and between the rooms in the cabin, and making full use of the theatre aisles to immerse the audience in the story. Good Water also flows very smoothly. One of my favorite components of the presentation is when the two pairs of characters, Mica and Hesiod, Pandora and Nyx, carry on conversations simultaneously, scenes that could have been done in a more linear fashion, but here keep the development of the story moving while at the same time adding to the mystery of the telling. You’ll know to what I’m referring when you see it, perhaps these characters have more in common than they let on. The story is so much more than just a tale of dystopia of course. There are elements that make the audience wonder what is real and what isn’t. There’s also that question about whether humans, whose behavior it is generally assumed to have led to the current situation, are even worth redeeming. There are more questions than answers here, and that’s what makes it good. The only time the play feels a bit unkempt is at the end. It is so difficult to end something in a way that is in line with the rest of the show, and while Good Water is just about there, the last few minutes seem to drag a bit. Once that becomes tightened up, this is a play that I can see making the rounds and being very successful. It’s already among the best original works I’ve seen over the past few seasons.

Also good is the cast. Holly and Katie portray their roles extremely well, presenting their conflicting attitudes, while at the same time recognizing that they’re in this together. Holly’s Mica is clearly still dealing with the loss of her daughter, who is played in flashbacks by Lucy Bert, and is doing her best to cope with that and her current situation. Mica created Pandora to keep them all company, but the difference between her and Hesiod is easily represented by the pronoun each of them uses when talking about their AI housemate. Leah’s Pandora has all of the character’s curiosity and wonder that the role calls for. Her movements are robotic and deliberate, and Pandora longs to leave the cabin to experience all of the wonderful things that she’s read about. The contents of her box may be different than what has been portrayed in other tellings, but it’s important to pay attention. What is in the box is key to understanding one of the major messages presented here. Nyx, having had a front row seat to the demise of the human race, is filled with anger and pain, Shona’s portrayal captures all of this in a commanding way. It feels like Nyx has a hand in everything that is transpiring and Shona is a big part of making the role believable.

Good Water is an emotional tale. There is some humor in it, and a lot of humanity. Beyond the ability of the cast to portray the emotionality of their characters, creative use of light (Molly Engelberg) and sound (Max Koh) help support the telling as well, through the constant din of the rain falling outside of the cabin and the off and on of the lighting to reflect the failing generator. Finally, there is Monty Rozema’s costume design, that surely speaks of this dystopia, but also presents the mystery of Nyx through their flowing starlit costume, and Pandora’s more industrial look. Worth noting especially is the change from Act 1 to Act 2 with Pandora.

Good Water takes audiences to a dystopian future that isn’t difficult to fathom. Local playwright Jessica Moreland has constructed an excellent story, built out relatable characters who challenge how redeemable humans are in the face of this grim fate, and presented a work of art that will challenge audiences to take an introspective look into their own lives and into society as a whole. It’s a play I can see becoming a more consistent part of the local theatre scene, especially as it continues to mature.

The Northwest Original Works production of Jessica Moreland’s Good Water runs onstage at the Theatre Off Jackson through Sunday, January 20. For more information, and tickets, visit https://fb.me/e/9kPKE9Cc0. Note that there are adult situations and language in this production, therefore it may not be suitable for younger audiences.