Pentecost Response Paper

Mitchell Harper
Drama 251
Pentecost by David Edgar is an achievement in writing. Coupled with the spectacular work by
director Andrew McGinn and every actor in the cast, the show left a lasting impression on the way I
view the world and was a true honor to behold. Throughout this response, I'll assume the reader is
familiar with the plot.
It's difficult to know where to begin when there's so much to cover. I'll start with the set, which
was quite beautiful and had a life of its own. I have to mention the way the brick removal was not only
possible but how it appeared quite real. The details on the main column were a nice touch. Overall the
stage was set for a magical night. Kultur Shock's music was a great addition to the production, and I
will be seeking out more of their music in the future.
Now to the show itself. The objectives are made very clear as the stakes are so high (then not
so high, then even higher) with respect to the fresco. Gabriella (played by Amanda Hilson) was who I
was drawn to throughout the show as her motives seemed most pure to myself. I was entranced by her
mastery in ownership of the character, and her work on stage was something to behold. From her
accent to her believability, she was in top form. On accents, the work done by the cast and their culture
consultants shined, and worked to create a great eastern European feeling in the middle of Seattle. Her
overall objectiveto determine the identity of the fresco to hopefully bring some respect to her country
and to preserve the workwas quite valiant, although the obstacles she faced were about as large as
one could possibly imagine. From competing orthodoxies to arrogant historians to being held hostage,
she had to overcome tremendous strife and played it with impeccable innocence of the future.
Johnathan Shue's performance of Oliver Davenport was of note as well. His clear delivery of
lines at the beginning of the play was crucial to the audience's understanding of the situation. It's
interesting to ponder what he goes through after only being brought out as a consultant. His objective

over the course of the show it seemed was to keep everyone in line, which became exponentially harder
as time went on.
The rest of the cast (save one who I won't mention) was memorable not so much in their
individual performances but as a ensemble. This is highlighted during the storytelling scene. I will
remember that moment for a long time as in the middle of this war zone a group of individuals--all
under incredible persecutiona moment of wonder and joy and solidarity is created, and the pains of
the world melt a way if only for a moment. Every accent and nationality was believable, even though I
have seen many of those individuals off stage around the drama department.
The cast had worked incredibly hard that night and earned that climax. The revelation of the
fresco's true identity was such a powerful moment. Though in any other circumstance the destruction of
the painting should be a pretty obvious conclusion, the journey the cast and audience went through
reduced such thoughts and placed you so presently in the moment that it's destruction was rather
jarring. As an audience member, I grew attached to the fresco and seeing it in tatters was like losing a
friend. Even the premise of its genesis, which is so incredibly absurd if you step back, was not only
accepted in the theater space but expected.
There were no obvious technical errors or miscues by the actors the night I saw it, which is
quite an accomplishment for a 3+ hour show. To conclude, innocence of the future was the key skill
throughout the show, and as an audience member I felt that every actor on stage was completely
innocent of such a powerful future. The work by Amanda Hilson was the highlight of the show, though
the entire cast was superb. I was unfortunately unable to attend another showing, but I would like to
thank all involved for the experience I had that night.