Ixion Theatre Ensemble captures the intensity of death row imprisonment

“When I Come to Die”

Ixion Theatre Ensemble
May 12-13, 8 p.m.
Lansing Mall
5330 W. Saginaw Hwy., Lansing
517-775-4246
ixiontheatre.com

“When I Come to Die,” an existentialist drama by Nathan Louis Jackson, is a tough and uncompromising play. It tells the story of a death row inmate who struggles with themes of hope, love, faith, connection and redemption while trying to understand why he survived his ordeal. The show features a good dramatic structure, meaty monologues and well-written scenes. Interestingly, it avoids the hot-button issue of the death penalty and instead explores what a man will do if given a second chance.

As Damon Robinson, Ndegwa McCloud gives a notable performance, effectively using the power of stillness, excellent vocal clarity and agility in changing tone. He keeps his head up, so it’s easy to witness the subtle changes in his facial expressions as the audience follows him on his journey. 

He’s a different version of himself when interacting with each character, allowing the audience to understand the different levels of status each person occupies, and these interactions continue to grow and deepen because of the clarity of his emotionally unencumbered performance.

Robinson begins to confide in and trust his fellow condemned inmate, James “Roach” Teagle, played by the versatile Doak Bloss. Teagle firmly embraces the idea that just because someone does bad things, 

it doesn’t necessarily make them a bad person. He desperately seeks a way to avoid his own ex

ecution and eventually resolves to write a poignant final letter expressing his simple yet 

profound thoughts. Bloss creates an indelible character and is clearly at ease with the dialect and many shifts in tone this production requires.

Father Adrian Crouse, played by Drew Cook, goes on an interesting journey with Robinson as his unwelcome jailhouse minister. Crouse begins with a mutually ambivalent attitude toward Robinson, but throughout the course of the show becomes more invested in him and therefore more compassionate. Sensing this compassion, Robinson begins to trust and rely on the priest. 

Some of Crouse’s moments were a bit overtelegraphed, especially early on. Cook is a very intelligent actor, and it’s easy to see he understands how to put a strong performance together, but I think sometimes, the audience sees how hard he’s working just a little too much. This is a mere quibble, as Cook more than redeems himself at the end of the show, producing true emotion and believable sentiment.

Janell Hall as Robinson’s sister, Chantel, excels in her role — she’s complex and realistic in a scene that effectively portrays the complicated emotions, motivations and responsibilities felt by families of people who are incarcerated, as well as those who are incarcerated themselves. 

Joseph Beaman, who’s a real-life parole and probation manager, brought instant clout and credibility as the no-nonsense prison guard, C.O. Cooper. It was his totally believable physicality that created the reality of the prison space, along with effective use of lighting, sound, set and props. The whimsical and imaginative fishing scene was striking in its expression of the idea that imagination can be freedom.