Barn explores human psyche in 'Cuckoo's Nest'

A sense of being trapped, being confined or of overwhelming claustrophobia describes the feelings of the Barn Theatre's fourth show of its 62nd season.

The curtains were already parted and the set revealed to patrons as they took their seats for "One Flew Over the Cuckoo's Nest," an adaptation of the famous Ken Kesey novel set in a mental institution.

Instead of placing the nurse's station far upstage and leaving most of the stage area for the ward room, the nurse's security booth sits downstage of center, limiting the actors to less than half of the Barn's roomy space.

The effect heightens the play's story of oppressive and smothering anxiety.

Producer Brendan Ragotzy has announced all season how strange it is that the Barn has never produced "One Flew Over the Cuckoo's Nest," which originally came to the stage in 1963 with Kirk Douglas in the starring role. But it was obvious to all in attendance that the chief reason to select the show was to provide Joe Aiello with a vehicle to display his impressive talents with serious material.

However, the show's success hinges on the tremendous talent of the cast supporting Aiello. And though the show is of high quality, it's missing something, like a casserole lacking one ingredient that transforms it from palatable to delicious.

Patrons likely are familiar with the movie version of "One Flew Over the Cuckoo's Nest," starring Jack Nicholson in 1975, as it was the first ever to sweep the five major Academy Awards (Best Picture, Actor in Lead Role, Actress in Lead Role, Director, Screenplay).

The stage version, which uses a different script than the film, was revived in 2001 on Broadway with Gary Sinise and recently has enjoyed a run in London with Christian Slater.

For those who have not seen the film in 30 years, Kesey's plot about the injustices of the treatment of mentally ill patients in the 1950s quickly returns to mind.

Randle Patrick McMurphy (Aiello), a criminal sentenced to a short prison term, has himself transferred to a mental institution to escape the drudgery of hard labor at the work farm.

An insidious and manipulative tyrant, Nurse Ratched (Penelope Alex), presides over the ward. She has cowed the patients into a cycle of co-dependency and humiliation, masquerading as therapy.

McMurphy forms close friendships with Billy Bibbit (Roy Brown), a suicidal, stuttering young man whom Ratched has made a quivering mess through her persistent domination, and "Chief" Bromden (Isaac James), a large Indian who is believed to be deaf and mute.

The story mainly involves McMurphy's goal of "getting under the skin" of Nurse Ratched, egged on by other inmates: Dale Harding (Scott Burkell), Cheswick (Eric Peterson), Martini (Bo Frazier) and Scanlon (Christopher Richards).

McMurphy's provocations change direction when he learns that most of the inmates have voluntarily entered the institution, unlike McMurphy who has been committed and can be kept incarcerated as long as the nurse and simpering, pliable Doctor Spivey (Eric Parker) deem necessary.

Ultimately, the show's ending supports the theme of McMurphy as a Christ figure, which is set up throughout the show with many Christ references and lobotomy-victim Ruckley's (Alston Brown) crucifixion poses.

Aiello shines in his performance as McMurphy. Staying away from too much that is overtly reminiscent of Nicholson, Aiello puts his own stamp on the role and even covers for one of the script's major weaknesses.

In the final reckoning with Ratched, the script fails to provide dialogue or narrative time to fully detail the reasons why a tragedy has resulted from the power struggle.

Beautifully, Aiello makes up for what the script lacks with his acting. His rage builds silently and, in a way, that is electrifying.

But without a great supporting cast, the show would not succeed at all.

Alex adapts the wickedness she demonstrated in last year's "Wizard of Oz" in a more serious role. Her frequent "that's just fine, boys," the crow of success when her manipulations bear fruit, is chilling and vile because of Alex's master strokes as an artist.

As good as Aiello and Alex are, Roy Brown is as good or better. Brown's stutters, sexual repression and humiliation almost steal the show from the other leads.

Brown has distinguished himself in comic roles as a hilarious talent, but in this role, he shows he could handle the most complex roles in theater history if given the opportunity.

The rest of the cast is equally fabulous. Eric Peterson shows a subtle side he has not been able to reveal in other roles.

Parker makes the most of his limited stage time showing his range as an actor. Burkell gives a stellar performance.

Although Alston Brown never speaks, he shows tremendous concentration and stamina, especially in long crucifixion poses.

Newcomers Frazier and Richards are impressive. Bits parts do not weaken the show, especially Emily Sotelo Matlack, who bursts onto the stage twice with great energy.

Perhaps it's James as Chief Bromden that's the source of the show's missing ingredient.

Although he delivers a competent performance, and there are no glaring problems with his work, the interludes focused on him are definitely the least well-rendered moments in the show. His acting in the show's finale is his best of the production.

Dusty Reeds shows her talents as a director with serious material. Scenic design by Doug Bickle is artful, along with impressive lighting design by Adam Levine.

Faithful Barn audiences seem to enjoy seeing the Barn regulars in roles made famous by others. They are so enthusiastic that they clap between scenes, which is not standard protocol for straight plays. Perhaps Barn audiences are so accustomed to musicals that they clap regularly out of habit.

Whatever the reason, the post-curtain chatter of Barn audiences exiting Tuesday night seemed to unanimously agree that this production of "One Flew Over the Cuckoo's Nest" was excellent and well worth their time and money.