The Last Word captures the experience of a lovely night at the theater. The frozen viewpoint from the peanut gallery allows the eye to choose where to go instead of a camera forcing it. The energy generated between the leads in a live setting translates very well into the back row that the viewer is watching from. The feel of an uninterrupted live performance remains intact by removing the cuts and never closing up. Also, because the stage is framed in its entirety, the viewer has the opportunity to experience the futuristic fun of pocket theater. Yes, I am telling you to watch this on your phone. It is a blast. You can’t carry a paperback in your pocket anymore, but now you can walk around with a little tiny theater in your jeans.
“The play’s biggest strength is how marvelous the dialogue functions to keep the electricity flying…”
The play’s biggest strength is how marvelous the dialogue functions to keep the electricity flying between the leads. I wouldn’t have thought of a Topper ghost set up as a vehicle for heavy drama, but it really works. Corran’s exploration of loss touches on many themes about ambition and affection in an insightful way. I am glad it has been released in its original live format, as I worry how much of the potency would be lost in a regular film adaptation. I fear the humor would be enhanced to the point of blaring over the drama. There is a minor subplot in the play about Fred trying to catch the ghost that would be milked to death in a potential movie version.
Also, you wouldn’t be able to enjoy the magnificent lighting by Martha Carter, which remains a gorgeous dynamic element in the mix. Also notable is the mesmerizing set designed by Vince Davey, which grabs the eye and keeps it. And, of course, you have the candy at the center, which is the amazing interplay between the leads. Niven is riveting as the dead Jill. She commands attention on a Cleopatra level. I had only seen her work once in the festival circuit in Meth Head, but now I plan to look out for her more, as she has the goods. Kapelos is a joy. He totally inhabits Brett’s cave-in of a life. It’s a real treat to see him work as Kapelos. He is an unsung Generation X icon: he played Carl, the janitor in The Breakfast Club. After all these years, my friends, he is still the eyes and ears of this institution. In this future time of fractured cinema, The Last Word may be your last chance to taste that old-time stage thrill onscreen.
For more information about The Last Word, visit the Three Women in a Box website.
"…captures the experience of a lovely night at the theater."
