As usual, it all began with an announcement online–this time from MB Adaptors co-founder and artistic director Kari Margolis. “Our newest production, ‘Flight,’ was such a big hit at the Provincetown Tennessee Williams Festival last fall that we’re thrilled to now have this opportunity to share this work with local audiences in our very own theatrical space in Highland Lake, NY,” Margolis electronically enthused.

“This highly visual and physical solo adaptation of Williams’ little-known short story [‘Stair to the Roof,’ aka ‘Episodes in the Life of a Clerk’] delves into the dreams and desires of a secret poet who yearns for artistic freedom in a world threatened by the simple act of being different.”

To be honest, Margolis had my attention at “Tennessee Williams,” my favorite playwright, although I was completely unfamiliar with the short story in question. It turned out to be an unpublished piece, stored away in the archives, waiting in the wings for Margolis and Co. to cast their magic spell on it.

Curious to know how “Flight” came to be, I delved a little deeper into Margolis’ psyche, er… I mean the MB Adaptors website, where I learned more. 

I read that “An unexpected invitation (and challenge) from the  Provincetown Tennessee Williams Festival to adapt Williams’ little-known short story ‘Stair to the Roof, or Episodes in the Life of a Clerk’ into a full evening play [titled] ‘Flight’ sparked an irrepressible yearning. A yearning that drew me back to the studio with a re-found trust in our ability as theatre-makers to transport audiences to that magical space where they can absorb details overlooked in the frenzied energy of everyday life.”

Although that sounded like a tall order, I’ve had the opportunity to “bask in the glow” (as my mother would say) of the particular kind of magic that this talented troupe of players has brought to the table in the past, so without hesitation, I made plans to take in a performance of “Flight” last weekend.

In my experience, the productions presented by the Adaptors are always full of surprises, so I wasn’t at all, when promised “original music, multimedia magic and an explosive performance all in a jam-packed theatrical hour,” I was by no means disappointed, since “Flight” took off from the moment the lights dimmed, and spread its highly dramatic wings with all that, and more.

Having experienced what this company has to offer in the past, I was loath to take my eyes off of the stage for an instant, much less take notes, since the Margolis Method description of their brand of “Performance Art Theatre” is devoted to “taking the mystery out of acting thru [sic] immersive theatre training that merges voice, body and mind,” but I did take notes (sporadically) with one eye on the stage, one eye on the solo performer portraying multiple roles in the simple-yet-complex story and one eye (wait—what?) on the dog, who performed perfectly, as usual. 

Since I’m being honest, I should divulge that I don’t always fully understand what I’m seeing when the Adaptors are in town, and that holds true for this production as well. That said, I know the difference between quality and schlock, and “Flight” (IMHO) is quality theatre of the highest caliber. 

Although he is billed simply as “performer,” Jarod Hanson, as the hapless secret poet in question, embodies all that the Margolis Method promises, e.g. the merging of “voice, body and mind” that is at the heart of the work that they do. It’s complex and intense, and as stated, I don’t think I fully grasp the process, but the end result is always fascinating, gripping and incredibly stimulating in what can only be described as inventive, fresh and unique.

As directed by Margolis, Hanson brilliantly transitioned from one character to another while sharing the narrative of Williams’ sad, hapless hero, Edward Schiller. I found myself instantly drawn into Schiller’s perturbing world and was emotionally mesmerized by his performance and the highly effective production values contributed by composer and multimedia artist Tony Brown’s sound design and Angela Kiser’s beautiful, creative and seamless lighting design. 

The contributions of all involved reminded me that MB Adaptors is “an ensemble company where members wear many different hats, and everyone contributes to the creative process.” 

Honestly, I found the story of Schiller, who works in a shoe factory while secretly writing poetry on the sly, quietly disturbing (it is after all, Tennessee Williams) but I’m still thinking about it days later. That’s something the Adaptors would likely appreciate, since the production still niggles at my brain and makes me wonder what this company does behind the scenes to make it all come to life for other hapless souls like me.

To be honest, I’m guessing that I wouldn’t understand, but rather than feeling stupid, I’m more intrigued to see what they have on the docket for next time, and the time after that. For someone like myself, whose comfort zone is more like a production of “Annie,” I’m thrilled that theatre-makers like the MB Adaptors are out there, creating, stimulating and challenging the theatrical “norm” that I’ve become accustomed to. I kinda, sorta feel like a more well-rounded theatre-lover for experiencing what the MB Adaptors brings to the table, so thanks, folks—keep up the really, really good work.

Fun Fact:  “Episodes in the Life of a Clerk” was written in the late ‘30s and “has autobiographical overtones, as Williams worked at the Continental Shoe Factory when he was a young man living in St. Louis.”