‘Truth Be Told’ at Curious Theatre is a gun play with no gunplay
The stage becomes a battlefield in Curious Theatre Company’s world premiere of Truth Be Told, where truth serves as both weapon and shield. This two-person production is a masterful examination of the complexities of truth and the unwavering spirit of maternal love, with strong performances by Jada Suzanne Dixon as Jo and Karen Slack as Kathleen.
The play — sharply directed by Christy Montour-Larson, hot off The Minutes — set in the confining space of a basement apartment, involves two mothers entangled in a narrative where truth is both elusive and transformative. It is set one year after Kathleen’s son Julian carried an automatic weapon into his workplace and killed 14 people — including himself.
Josepha “Jo” Hunt is a true-crime writer who has come to interview Kathleen for a book she is writing about the shooting. Jo attempts to stay professional, but she is quickly thrown off her guard when Kathleen asserts that she wants to set the record straight: Her son is not the shooter.
Thus begins the heartbreaking conversation between two mothers with different points of view as Kathleen attempts to convince the skeptical Jo that her son was caught up in a conspiracy by elites who want to bring their family down. Although no guns are fired, the characters don’t need them; their words pierce each other more than any bullet could.
Confronting the lies
Written in the wake of the Sandy Hook shooting in 2012, William Cameron was inspired to start the play after he heard a Florida college professor claim the massacre was a hoax perpetrated by the federal government. While the teacher was proven wrong and lost his job over his statements, Cameron wanted to interrogate the situation and explore how these lies might affect a grieving mother desperate for answers.
Dixon’s portrayal of Jo, a reporter wrestling with the demons of her profession, resonated deeply with me, reflecting the complexities and emotional toll of conducting difficult interviews. While Jo’s guarded demeanor sometimes borders on impenetrable, it reflects her internal struggles and the flaws she refuses to acknowledge.
In contrast, Slack’s portrayal of Kathleen provides the emotional epicenter of the production. She brings to life the turmoil of a woman on the edge, fiercely protective of her son and angry at the world that has isolated her. Slack’s performance is a transcendent experience that pulls the audience into the psyche of a character pushed to her limits.
Although many audience members in Denver – me included – might initially be more sympathetic to Jo’s anti-gun perspective, it’s a testament to Slack’s emotive performance that you don’t write her stance off.
Set over three days without an intermission, the show’s scenes are impeccably paced, allowing the audience to immerse themselves fully in the unfolding drama. The scenic design by Caitlin Ayer in Kathleen’s basement apartment is meticulously crafted, complete with a small window and a running water tap — elements that add an air of authenticity to the space.
The scene transitions, marked by total darkness and music, momentarily break the spell of the narrative. Although Janice Benning Lacek’s costume design effectively communicates the passage of time, the wigs used in the production are a bit over-the-top and occasionally distract from the overall aesthetics.
These technical issues are mere quibbles in the grand scheme of the play’s powerful narrative and outstanding performances. The final scene is especially gripping, with Kathleen laying out all her meticulously gathered evidence to Jo in a desperate bid to prove her son’s innocence. This pivotal moment is charged with emotion and intensity as Kathleen attempts to shake Jo’s, and by extension, the audience’s, perception of the truth.
The play’s resolution, while satisfying to watch, comes to an overly tidy conclusion that strains credulity. Could a person so deeply entrenched in their worldview truly make such a drastic turnaround in a matter of minutes? Skeptics like me might question the realism of such a rapid change in conviction, especially in the final moments of the story.
Yet, any doubts about the storyline are overshadowed by the sheer brilliance of Slack’s and Dixon’s performances. Slack’s final emotional breakdown, coupled with Dixon’s nuanced reactions, creates a theatrical moment of such intensity that it’s impossible not to be captivated. It’s in these final minutes that the play truly soars, leaving an indelible mark on the audience.
Truth Be Told works best as a character study and succeeds due to compelling performances from the two actors and Montour-Larson’s astute direction. It’s a play that challenges audiences to confront their perceptions of truth and will leave you mulling over the intricate performances long after the curtain falls.
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