The theater darkens. Then a spotlight turns on, illuminating a lone figure who introduces herself to the audience as “a middle-aged professor of undergraduate creative writing at a prestigious university.”
Thus begins our welcome into Bella Baird’s world as a Yale University professor, and her journey as a writer, a teacher and a recently-diagnosed cancer patient in Capital Stage’s “The Sound Inside.”
Playwright Adam Rapp presents Bella’s character in a unique way, having her deliver her story almost as a monologue, speaking directly to the audience at times, or as if she is reading from her own creative writings.
The 90-minute play dips into Bella’s self-examination, her teaching methods, her love of literature, her health challenges and her relationship as a mentor to Christopher, an aspiring young writer who is in her freshman class.
After getting some background on Bella (Dana Brooke), the scene changes to her campus office, where she continues her monologue in recounting her writing and professorial journey.
During her reflections to the audience, Bella is interrupted by Christopher (Jacob Flekier), one of her students with quite the attitude. He slowly draws Bella in with his declaration that he’s writing a novel, which intrigues the professor. Eventually, they meet outside the office where a mentoring relationship begins, which evolves as they are drawn to each other.
The plot gradually takes some unexpected turns and dips into dark elements that will lead to complex, layered discussions among audience members after the play ends. Which is a trademark of Capital Stage’s selection of plays — entertaining but, at times, challenging to reflect upon.
Brooke is quite impressive in the role of Bella. Not only does she totally inhabit her character, she also presents 90 minutes of multilayered dialogue with the detailed descriptions and flowery language of a creative writer. There is humor sprinkled about, but Brooke particularly shines in her quick tale of a sexual encounter that becomes a “I’ll have what she’s having” moment.
Flekier is the needed counter-character role as Christopher, the student who slowly reveals himself to Bella and draws out Bella’s own story. His performance is solid as the student misfit who finds solace in writing and a connection with his professor.
The set is sparse — a tree with many branches and bookcases with many books provide the backdrop. Onstage, the different elements of the story are staged using a simple office desk on one side, a living room couch on the other and a snowy park bench in the middle. The simplicity of the set keeps us focused on the dialogue — mostly monologues — with the spotlight lighting up those speaking.
“The Sound Inside” will especially resonate with writers in the audience as Bella describes her own sometimes agonizing writing processes, the need at times for deadlines, the triumph of a finished work — all told in the play’s dialogue, which Bella describes as “long, heavily-embroidered” sentences.
It also brings up the question of a creative writer telling the tale of her own life — what part is true, and what part is creative.
✔️ “The Sound Inside” plays at Capital Stage through March 1; Wednesdays to Fridays, 7 p.m., Saturdays, 2 p.m. and 8 p.m., and Sundays 2 p.m. 2215 J St., Sacramento.
There is an ASL interpreted performance at 8 p.m. on Saturday, Feb. 28.
This story was funded by the City of Sacramento’s Arts and Creative Economy Journalism Grant to Solving Sacramento. Following our journalism code of ethics and protocols, the city had no editorial influence over this story and no city official reviewed this story before it was published. Our partners include California Groundbreakers, CapRadio, Capitol Weekly, Hmong Daily News, Russian America Media, Sacramento Business Journal, Sacramento News & Review and Sacramento Observer. Sign up for our “Sac Art Pulse” newsletter here.
By Patti Roberts
