The Space Between's Nickel & Dimed is a lotta bang for the buck

The Space Between’s “Nickel & Dimed” is a lotta bang for the buck

by Constance Kirk

Constance Kirk is a freelance writer from the SF Bay Area

When you attend a performance of The Space Between Theatre Company, there are several things you can count on. One: Every play will be distinctly different from the others. Two: You will see some outstanding local talent. And three: You will be surprised. Their season opener, “Nickel & Dimed,” fulfills all of these expectations, and then some.

The Space Between is known for producing what they call “fearless theatre” – thought-provoking plays that emphasize story and character. Once again, they have hit the mark with “Nickel & Dimed,” a riveting story with strong characters. Through the eyes of a well-educated, successful writer, we observe the lives of ordinary people trying to make a living, most barely getting by on their low-wage jobs. This play could hardly be more timely, given the gloomy U.S. economy and the alarming number of Americans who are unemployed or “under-employed,” today’s label for those who used to be called the “working poor.”

You might expect “Nickel & Dimed” to be grim. It is not – in fact, it’s often very funny and filled with ironic and poignant moments. There are scenes that just might make you wince a bit (possibly from middle-class guilt) but we are also witness to hope and humanity in each scene. One can’t help but care about these characters, due in large part to a talented cast that delivers strong and sympathetic performances.

“Nickel & Dimed” may seem deceptively simple. But take a good look at the program and do the math. There are a whopping 36 characters in the play and only ten actors. (Two actors have just one role each, so that means 34 characters are played by eight actors.) There are 17 separate scenes in 14 different locations. And behind the scenes, there are 26 multi-tasking people, with even the director and producer doing multiple jobs. The stage manager kudos go to Lorie Hawley, and the smoothly running show is clear proof of her abilities. Craig Beagley, the producer, skillfully helped put together a complicated show with a professional end result.

The production is ambitious in its complexity, and director John Parkinson has met the challenges in some interesting ways. He cast two of the women in male roles, and his intelligent casting of the multiple roles manages to avoid confusion. The set pieces are multi-purpose and strategic rearranging lets us quickly recognize the scene’s location. A live musician provides pleasant moments during scene changes. There is the clever device of briefly projecting above the stage each scene’s location and its corresponding wage or cost. The costumes are mix-and-match uniforms with key items defining the differences, and they remind us that they serve to diminish the workers’ individuality and humanity.

There are a couple of areas with room for improvement. The large number of characters and brief scenes are not conducive to the actors developing in-depth relationships, and the pacing of the show can lag due to occasionally slow scene changes.

Joan Holden wrote the play, “Nickel & Dimed,” based on the book, “Nickel & Dimed, On (Not) Getting By in America,” by Barbara Ehrenreich. When the book was published in 2001, Ehrenreich declares that “30% of Americans are working for $8/hour or less.”  She was already a well-established writer when she went “undercover” for just a month to research an article on the plight of the working poor. But feeling that her attempt is a failure, she is driven to try again and again. One month turns into many, as Ehrenreich lives and works in different places, determined to survive “by the rules” she sets down for herself. The article eventually becomes a book, with Barbara Ehrenreich herself as the central character.

             The leading role of Barbara is an acting challenge, as she is in every scene and has a lot of dialogue. Chrystine Hyatt is up to it and is wonderful in the part. Barbara believes she is prepared for her experiment, but is shocked at what she finds, particularly her own inability to meet the essential needs of shelter and food. She must re-examine her core beliefs and how to stay true to them, even as they threaten her very survival or could harm her co-workers. At first, Barbara justifies her uncomfortable moral compromises as being “for the greater good.” Despite her high ideals and the safety net of the “real life” that is waiting for her, she too is beaten down by the exhausting work and grinding poverty, and it is increasingly difficult to stand up for her principles. Suddenly, the “right thing” is not so clear-cut, nor so easy.

Every member of the cast tackles their roles with commitment and skill. Alexandra Beagley has four roles, and is outstanding as Hector, the explosive and colorful cook. Newcomer Gayle Cushinberry, with six roles, displays her versatility and does an especially good job as Carlie, an aging maid. Veteran actress Robin Hampton is strong in all six of her roles, and gives a compelling performance as the careworn and desperate Maddy. Pam Layton plays four parts, with an exceptional portrait of the footloose waitress, Gail. Dianne Marius (also the play’s costume coordinator and prop master), performs in two roles, giving a moving portrayal of Holly, a naive maid with dreams of bettering herself, regardless of the cost. Experienced actor Rick Pickett carries five roles, and shows his great versatility and talent in convincingly playing everything from an irate biker to a corporate manager. Cole Sherratt shines in his four quirky roles and is particularly good as George, the immigrant busboy, although he gets lots of laughs as a befuddled Mall-mart customer. Shelly Truax’s three roles, all very different, are all beautifully acted, especially the big-hearted and tragic Melissa.

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