"Breadcrumbs"

February 25, 2023 — For the second time in recent years, I was an audience of one at a theatre KAPOW production when they streamed it over the Internet and I watched it on my PC screen in the comfort of my den on one of the coldest weekends of the entire winter. This is also appreciated by those of us still a bit wary of sharing space with others in an enclosed theater, even though the pandemic seems to be in retreat.

The play was "Breadcrumbs" by Jennifer Haley, directed by Catherine Stewart, first presented in three live performances at Capitol Center for the Arts on the Bank of NH Stage in Concord, New Hampshire, then live-streamed over the Internet.

The play jumps back and forth in time, a trend in drama and story-telling that seems to be increasing, but which I feel is being over-used and often confuses me, although I'll own up to being easily confused. But many times the story line doesn't make it clear which of its multiple time periods we're witnessing. But thanks to Tayva Young's ingenious use of lighting we're saved from becoming lost in time once you catch on to her technique. You can still get lost in this play, but being lost is part of the grim subject matter.

Alida (Katie Collins), a writer, has been diagnosed with dementia. Beth (Rachel Chapin) is a nurse's assistant assigned to Alida's care. Alida, already writing reminders on scraps of paper and occasionally groping for the correct word, is hoping Beth can help her write her life's story. Their relationship is not an easy one. Alida, living alone and always self-sufficient, is resentful and bad-tempered. She orders Beth out many times, repeatedly berating her for being late, lying, and having a disorganized personal life.

In flashbacks, signaled by a switch from color to black and white in the Internet version, Collins plays herself as a child and Chapin portrays Alida's' mother. This is what I meant by clearly identifying its place in time.

The two actors carry this play beautifully through its alternately heart-warming and heart-breaking progression. It has all the fine production values, direction and stagecraft we've come to expect from theatre KAPOW.