I was surprised to learn that the phrase “between a rock and a hard place” originated in the U.S. fairly recently, in the early part of the 20th century. At the risk of stating the obvious, I’ll simply convey that (according to www.phrases.org), the expression refers to “the dilemma of being in a position where one is faced with two equally unwelcome options, [and] appears to lie deep in the human psyche.” 

And that, dear reader, is how I felt last Wednesday as I experienced “TERROR,” the premiere production of the newly formed Catskill Public Theater (CPT). The play was presented in the great outdoors in the Roscoe/Rockland Firemans Field—and by doing so, it incorporated some unique and striking elements.

While my love for live theatre never wanes, it’s no secret that I have a penchant for the lighter side of entertainment—and even more so of late, simply because there’s enough real-life drama (IMHO) playing out on the world’s stage these days. That said, I was peripherally aware that “TERROR” isn’t a musical comedy (by any stretch of the imagination) and that CPT founder and managing director Marshall Shnider has extensive experience in the dramatic arts, and was trained at the Juilliard School’s drama division. 

Therefore it came as no surprise that Shnider and Co. were addressing serious topics right out of the gate. “TERROR” deals with issues like right and wrong and good and evil, while asking the audience if there might not be a gray area in between. 

In fact, the audience plays an important role in the play, which takes place in a military court of law.

With a clearly intentional sense of art imitating life, the plot focuses on the defendant, solidly and sympathetically portrayed by John Neails. The defendant is solely responsible for shooting down a commercial airliner (with 170 passengers aboard) that has been hijacked and is headed for a huge sports stadium, packed with thousands of unwitting would-be victims. Did he do the right thing? Is it fair to choose hundreds of lives over thousands? 

Ultimately, it’s left to the audience to decide if the man is guilty or not, and as a result, his fate is in their hands nightly, and not to be taken lightly. 

Tautly directed by Leon J. Van Dyke, the trial and the characters portrayed seemed very real and quite unnerving as the proceedings unfolded before a trio of judges (actors Paul Eisemann, Kevin Allen and last Wednesday’s celebrity guest judge Wade St. Germain). 

Author Ferdinand von Schirach has smartly crafted a riveting thriller. The prosecuting attorney (Crystal Tweed) and the defense lawyer (Arthur Auilisi) take turns not only cross-examining the defendant but also presenting compelling arguments for both sides. Auilisi and Tweed are perfectly cast as military lawyers, both protagonist and foil—and as one by one the witnesses took the stand, I found myself vacillating. 

As Officer Brooks, Nicholas Lopez was so grounded and sincere that I found his convincing testimony layered and engrossing. Jessica Lopez’ Mrs. P., the widow of an innocent bystander, was equally intense, and as her story unfolded, I once again found myself simultaneously championing and questioning the defendant’s position.

Ultimately, I was forced to make a decision. After the “closing arguments,” members of the audience were asked to cast their ballots, in order to determine the final verdict. On the night I was in the audience, an audible gasp arose from the crowd when the defendant was found guilty, and as he was led out of the courtroom palpable shockwaves reverberated in the cool night air. 

“TERROR” was produced and presented so successfully that days later, I’m left with lingering doubts. While I was sure of my decision to not prosecute the man responsible for the deaths of those on the airliner, there were others who believed in the strength of their convictions as well. While I intellectually understand their quandary, emotionally I wouldn’t, or couldn’t, agree. 

At its heart, “TERROR” is a morality play in every sense, questioning our system of values and principles of conduct. It forces “polite society” to examine what we individually think is right or wrong, but leaves the door open a crack for what might strengthen, or weaken, our resolve. 

One could say that “TERROR” leaves the audience with more questions than answers—on the horns of a dilemma, as it were—or forcing them to choose between the lesser of two evils. Some might even say “between a rock and a hard place.”

For more information, visit CPT online at www.catskillpublictheater.com.