Almost, Maine, a theatrical production directed by David Furumoto, explores the theme of love through a series of vignettes. Each scene of the romantic comedy takes place in the midst of winter in the mythical town of Almost, Maine. The characters constantly find themselves falling in and out of love in the most unexpected ways, and each scene effectively incorporates theatrical production elements to convey their stories. Actors in Almost, Maine use specific spatial relationships to communicate to the audience information about interpersonal relationships; in particular, the actors employ distance and area to convey messages about their feelings towards one another. In the scene Getting it Back, Gayle (played by Jessie Reynolds) first enters from center stage right, demanding that Lendall (played by Christian Stevenson) return all the love she had ever …show more content…
For this particular scene, there are specific areas of the stage associated with each character, thereby creating a physical separation between the characters. The scene opens with Hope arriving at her ex-boyfriend’s house. After many years, she has finally decided that she is ready to spend the rest of her life with him. To her surprise, a mysterious “Man” (played by Christian Stevenson) who lived there with his wife now occupied the house. When Hope comes to the realization that “Man” was none other than her ex-boyfriend, she quietly leaves and exits the stage the same way in which she had entered. Furthermore, Man actually never steps outside his front porch. With the actors’ use of spatial relationships as described here, it became clear to me that their paths were never meant to cross, both literally and figuratively. Using these techniques to create a sense of separation effectively conveys the idea that Hope and Man have to part yet once