Friends or lovers, gay or straight? Kevin Douglas’ play lovingly follows the lives of two women from girlhood on
First produced in 2022 (review), Clink Clink, presented by Two Cent Lion Theatre Company, has moved from its humble beginnings in a tiny black box theatre on the DU campus to the People’s Building in Aurora for a more substantial, splashier production.
Written by Colorado playwright Kevin Douglas and directed by Andrew Mitchell, Clink Clink is a robust theatrical piece that touches upon fundamental human emotions and questioning sexuality through the lives of Elliot (Izzy Chern) and Olivia (Gracie Jacobson). Spanning 28 years, we get to know the two characters intimately as they age from 7 to 35.
Their first meeting as girls in in Elliot’s bedroom during a forced play date arranged by their mothers. Before the end of the first scene, we detect that the two girls will become best friends through thick and thin. Moving forward, we revisit them in four-year increments, always in Elliot’s bedroom. The scenes touch on essential times in their lives, including high school, college and beyond.
Much of the action swirls around whether Olivia is ready to proclaim her interest in same-sex lovers while Elliot has made up her mind. Elliot knows she’s not interested in the opposite sex while Olivia teeters throughout the play, causing emotional strife between the two friends. The two eventually end up together as partners, only to have what appears to be a storybook ending come crashing down.
Powerful performances
We are blessed to have the original actors from the 2022 production recreate their roles once again. Both actors deserve high praise.
In the role of Elliot, Chern, also credited with the story of Clink Clink, turns in a performance of such high distinction that it leaves the audience nearly gasping for air. This is especially the case during an extended monologue in the second act. Chern’s command of this moment is a gift of the highest caliber, making it abundantly clear that Elliot’s affections reside with Olivia and probably have for many years. Chern is especially effective in suggesting her age from a 7-year-old to a grown woman and how that would manifest.
Never appearing to be less than sincere, Jacobson approaches the role of Olivia with substantial commitment and quiet introspection. As she vacillates emotionally and sexually, we are met with the most honest and straightforward performance imaginable. Becoming increasingly desperate as her world unravels, Jacobson remains steadfast in her commitment to live her most authentic life. Her final moments are the reflection of a gifted actor.
A true-to-life script
None of this would be possible without a script of great merit. Kevin Douglas has penned a script that rings true to life and explores the complexity of a 28-year relationship, showing all sides of the two women. With rich and believable dialogue, Douglas taps into the tiniest details of each period, allowing the audience to revisit the years as they go by. Keeping the action in Elliot’s bedroom, Douglas focuses on the characters and their relationship with few distractions. It is exceptionally paced, so all the sensitive nuances of the script are beautifully explored without ever belaboring their emotional impact. It is exciting to witness the work of a talented, new playwright.
Under the direction of Mitchell, Clink Clink is off to the races from the opening moments through the final curtain. Mitchell has a delicate touch that focuses on the characters and their evolving relationship, turning this into an extraordinary study of human behavior instead of merely a trip down memory lane.
Of special note are the projections used throughout, which help set the scene for each upcoming vignette. Created by the playwright along with Taelor Hansen, they fill the back wall with clips from popular culture, giving the audience a peek into the times of the recent past.
Clink Clink (the sound of two glasses striking each other in a toast) opens Two Cent Lion Theatre Company’s season at the People’s Building as the in-house company for 2024. And a fine start it is, giving us the chance to witness the journey of a theatrical piece, with its changes and embellishments, move to a larger space. It’s early in the new year, but Clink Clink is already a must-see production of 2024.
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