By Mariah Reed
You never know what you’ll see when you attend Kutumba Theatre Project’s presentation of Spy for Spy by Kieron Barry. And that’s a good thing. Far too often, predictability causes us to disengage and leave the theater less than inspired. Billed as “a Sapphic love story, shuffled,” this production is an arresting depiction of individual moments of import that alternately shatter the soul and elicit bursts of laughter inspired by the absurdity of the human experience. But Barry utilizes an unconventional method of storytelling in this case.
Though we walk through time as if along a straight path, science and philosophy propose that its nature is far more tangled—a tapestry of moments, not a single thread. Barry weaves the tale of a love affair between Molly and Sarah by crafting scenes that are rearranged each night depending upon audience participation at the prior performance. (Insider tip: Arrive early to partake in this fascinating exercise.) The order of the scenes vary nightly because, as director Kim Ehly suggests, “when we reflect on a past relationship, our recollections are rarely linear.”
This may be so, but how does this approach affect an audience from night to night? Quite positively, it turns out. The treatment clearly engages the audience in a way that might challenge a more traditional unfolding of story. Attendees lean forward, listening closely and utilizing context clues to determine at one point the relationship currently exists.
As scenes unfold, it soon becomes clear that this is a presentation of critical moments in a relationship between Molly and Sarah, and the fact that scenes are not necessarily in order is fascinating. It is profoundly affecting when we see early red flags appear in a scene that follows another scene depicting the effects of ignoring those warnings. How many of us have overlooked such signs, only to suffer the consequences after the fact?
No matter the order in which Spy for Spy unfolds, Molly and Sarah are depicted as two complex characters who tug at our heartstrings. Sarah is a neurotic, fiercely independent attorney raised in a strict, well-to-do household. Molly is a free spirit; a struggling actress who has little education and even less exposure to the finer things in life. Both are complex individuals. Sarah believes that “love is a con,” yet proclaims she has fallen for Molly. Molly is uneducated, but she is a spiritual student in search of profound truths. She may not know which direction is North, but she exhibits wisdom when observing that Sarah utilizes drama to give herself “…the thrill of intimacy without having to share it with anyone.”
Because of Molly and Sarah’s obvious incompatibility, this relationship shouldn’t work. Yet we find ourselves enthusiastically rooting for its success. We relate to the vulnerability and complexity of the characters as they navigate challenges. At one point Sarah manages to secure a big audition for Molly. The project? A series titled Spy Ninja Nun, in which the title character (contrary to logic) wears a bikini. Is this Molly’s big break? Or is it evidence of the transactional nature of all relationships?
Dramatic tension rises as we witness Molly and Sarah continue to bump up against differences in priorities, experiences, and background. Can the power of their love help them overcome the challenges they face? When Molly bemoans, “How are others making it work?” “They’re not,” Sarah asserts. “They just have a higher tolerance for dysfunction.”
In the end, a personal tragedy challenges Molly and Sarah to re-examine their choices. Priorities shift, and moments become precious. In looking back at their evolution as a couple Molly urges Sarah to “remember the good stuff.” The playwright seems to speak through Sarah as she responds sadly, “I can’t help what I remember.”
With solid performances by Taylor Lyn Dawson, as Sarah and Abbie Fricke, as Molly, Spy for Spy is a delicious slice of life that offers an empathetic view of human struggle, the search for meaning, and the value of self-sacrifice in nurturing love. Director Kim Ehly and Assistant Director Jill Bellak deftly balance humor and pathos in the presentation of key moments of this couple’s relationship, while pointing up philosophical quips that cause us to examine our own thoughts of love and a healthy relationship.
Clint Hooper and Kim Ehly have designed a simple, but effective set representing a variety of environments. Lighting by Preston Bircher and sound by David Hart provide ambient touches that transport us from a California winery on New Year’s Eve (complete with fireworks) to Sarah’s cozy apartment, where a visit from her parents is imminent.
All cues are executed flawlessly by Stage Manager Heather Nielsen and Mabel Vittini’s mural depicting the flora of a west coast winery is a charming touch.
At the conclusion of the performance this reviewer attended, the audience cheered enthusiastically. It was as if they were praising the characters’ fortitude as much as the talents and abilities of the actors and director. We all know that finding (and keeping) love is not easy. But witnessing a relationship’s rise and fall out of order presents a rare opportunity to focus on the defining moments that contribute to its success. We have a better understanding of the whole, somehow. Barry seems to affirm this perception when he has Molly speak of a spiritual revelation brought about by ingesting Ayahuasca in Peru. “..everything that had happened to me in my life was cascading in front of me, but in a jumbled order, like rain, and I realized everything happens together because it’s one thing. And then suddenly; total stillness, total enlightenment. I understood everything.”
To witness the totality of a relationship in a truly unique way, don’t miss this distinctively moving production, presented with an abundance of heart and courage from the Kutumba Theatre Project.
To read a feature about the production, go to
Spy for Spy from Kutumba Theatre Project will be performed through August 3 at Empire Stage 1140 North Flagler Drive, Fort Lauderdale. Shows are Friday and Saturday at 8 p.m., and Sunday at 5 p.m. with July 17 at 8.m. (No performances on July 18 and July 19.) General Admission: $40. Seating is limited. For tickets visit: https://www.ticketleap.events/tickets/empire-stage-theater-llc/spy-for-spy Information (and tickets also) at: www.kutumbatheatreproject.org or call 954-646-1000. Free parking behind and alongside the theater and parallel parking along the railroad side. Carpool encouraged.
Mariah Reed is an Equity actress, produced playwright and tenured theatre professor.
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