Directed by theatre associate professor Richard Glockner, Theatre UNI continues the 2014-2015 season with Pulitzer Prize finalist Amy Herzog’s newest work, “The Great God Pan.”

An exploration of the evanescence of memories, “The Great God Pan” details the emotional turmoil of 32-year-old journalist, Jamie (played by David Wasserman, senior individual studies major), who meets with his old childhood friend, Frank (Bryce Taylor, senior communication and theatre double major). Frank reveals that he had been sexually abused by his father as a child, and that he is building a criminal case against him by contacting those he believes may have been victimized —including Jamie. Jamie vehemently rejects the possibility, yet his life quickly falls to pieces as the stress from not remembering takes its toll.  

In “The Great God Pan,” Herzog demonstrates that she understands people. Every single character is realistically flawed, raw and vulnerable. Nothing is perfect and nothing goes according to plan. 

The dialogue has characters expressing themselves in bursts of emotion before dying back into awkward silences filled with small talk and niceties. It’s incredibly organic, and Herzog manages to not be repetitive or uncomfortable.  

Unfortunately, this is where the compliments end.

The biggest problem that “The Great God Pan” has is its conclusion. ‘Conclusion’ isn’t even the right word for it — the ending is non-existent. There is no catharsis at all.

For example, there is this bizarre subplot in which it is heavily implied that Jamie’s mother, Cathy (played by Chelsea Miller, senior theatre major), knows more about the alleged abuse than she lets on.

After Jamie remembers a scratchy sofa from his childhood, he asks Cathy if his old babysitter Polly (played by Katherine Smith, junior theatre major) had had a scratchy sofa. Cathy violently responds by having a panic attack before pulling herself together enough to lie, telling him that Polly’s sofa had not been scratchy. Her reaction clearly indicates that she knows which sofa he is referring to and remembers something awful involvinig it. Very intriguing stuff.

Yet, the sofa is never brought up again, nor is Cathy. 

This is only one example of many subplots without a proper conclusion.

Character development is sparse. Jamie moves from one scene to the next, bemoaning his circumstances. There is a rapid, yet steady downfall for him, but the climb back up is jarringly sudden. 

Topics brought up throughout the play are similarly introduced and immediately tossed aside. 

There’s this conflict between Jamie’s insistence that the person he is is determined by his choices; everyone else is convinced that his sexual dysfunction, his discomfort around gay men and his agitation and irritability are caused by abuse that may not have happened.

Though central to the narrative, the discussion ends there.

Another topic the production focuses on is the sex offender registry. In the play itself, it is only mentioned once.

After Jamie tells his mother that Frank wants to press sexual abuse charges, Cathy insists that the sex offender registry is an abuse and unconstitutional, claiming that Frank only wants to press charges for revenge. 

This is never mentioned again. 

As for the production itself, it is good. 

The set, lighting and costume design is daringly minimalistic, depending on shadow and simplicity to portray the necessary mood. It’s a design choice that works wonders with the play’s atmosphere.

The play is emotionally exhaustive and must be handled delicately by the actors to avoid becoming monotonous and is very difficult due to its wide emotional ranges. Unfortunately, the cast never quite pulls it together. 

Wasserman and Miller have the weakest performances. They are so agitated and high-strung with so few soft moments that it is strenuous to watch.  

Erika Kuhn, junior theatre major, in contrast, has a softness and subtlety to balance her character’s furious and miserable moments. She’s excellent from throughout. 

Taylor and Smith also stand out as being sincere and charming in their deliveries, adding a much needed brightness. 

Yet, despite all of the laudable design, acting and Herzog’s own praiseworthy abilities, “The Great God Pan” simply has too many flaws to be anything more than mediocre.