At Vintage Theatre, ‘She Kills Monsters’ celebrates the geek warriors of Dungeons & Dragons

She Kills Monsters takes us back to the vibrant era of 1995, offering a nostalgic and enriching journey. While centered around the iconic game Dungeons & Dragons, this Vintage Theatre and Insight Colab Theatre co-production delves deeper, delivering an exceptional comedy that succeeds with its talented cast and excellent direction.

Written by Qui Nguyen and directed by Samantha Saunders, She Kills Monsters is a dramatic comedy inspired by the iconic game Dungeons & Dragons. It tells the story of Agnes Evans, who, after a tragic loss, discovers her late sister Tilly’s world through a Dungeons & Dragons module, embarking on a journey of adventure and self-discovery.

Dungeons & Dragons play a prominent role in the 90-minute presentation, but it is far from the only aspect evident. Alternating between the real world and the imaginary world of D&D, Agnes follows an emotional journey leading her to accept her sister Tilly on a more personal level and with insights into what kind of person she was and would have become.

Photo: RDGPhotography

Emotional journey

The journey can be emotional and raw at times, but Ava Arangua Francis, as Agnes, handles it beautifully. Francis’s appealing quality draws the audience in at every turn, and the journey is filled with emotional highlights and deep introspection. Determined to know her deceased sister more intimately, Francis evokes a sense of genuineness that adds to her strong performance.

Chrys Duran masterfully captures the spirit of D&D, delivering a commanding performance as Tilly, Agnes’s deceased sister. As the mastermind behind the game, Duran expertly navigates us through the intricate world of D&D. Along with the entire cast, Duran’s prowess as a swordsperson adds a layer of authenticity and excitement to the production.

Samantha Saunders directed She Kills Monsters on a very human level. Granted, there are incredible sword battles throughout — no easy task in Vintage’s smaller theatre — but humanity shines. She never loses sight of the fact that D&D is an instrument used to explore Agnes’s emotional journey, not the overriding element of the story.

Fight choreographer Caden Pazo has turned the long, narrow stage into a blood-thirsty battleground with realistic fight scenes. The cast masterfully uses their weapons up close and personal, with the audience merely inches away from the action. This is a notable element of the production worth seeing.

I haven’t thought of or heard of D&D for probably 30 years; however, I understand that it continues to thrive worldwide. I have never been interested in it and found it confusing and uninspiring –  I mean no offense to those who love and play the game. However, as the play began, I feared we would be in for 90 minutes of D&D, but that changed shortly thereafter. Yes, D&D is at the forefront of the play, but it did not overshadow the depths of emotion displayed in a beautifully written script by Qui Nguyen.