The fascination of the deep resources of our minds that delve within a chasm of good and evil, of light and darkness, and the chance of redemption even for the damned are explored within the framework of Veronica’s Room. Without surrendering too much of the plot that would spoil the astonishing end, let us say that it packs a wallop.
The show takes us back to 1973, New England. A vivacious young woman (an enchanting Amelia Gotham) is asked to play the part of Veronica, long since passed to please a dying woman. But not all roles should be performed. A seemingly elderly couple (Karen Kahler and Patrick Skelton — both outstanding) are not quite what they seem. Even her new beau (Mark Souza) has an obscured motive. They are, however, brilliant in their betrayals. Soon she questions her own sanity and identity.
This is a top-notch production. Director Dan Spurgeon is ruthless with the pacing, which ups the ante of the suspense. The set is brought to life by Mary Hamrick. Written by Ira Levin, the same scribe who gave us Rosemary’s Baby and Deathtrap. Needless to say, the show has a way of getting under your skin. Thrilling it is.
There is an underlying and somewhat subversive theme of not trusting strangers. That not everything is as it seems. Innocence is not always rewarded. We are reminded that the past can continue to haunt the present. Indeed, it is a cautionary tale of using one’s discretion in today’s volatile world.
Veronica’s Room runs through March 30 at the Underground Theatre located at 1312 N. Wilton Pl. in Hollywood. For tickets, visit thevisceralcompany.com.