SEE IT: One man’s hunt for answers and revenge in a riveting and sleek “The Honey Trap”
For those following me on Instagram, I have been bemoaning how disappointing the DC theatre offerings were in October. Perhaps I missed the good ones, but the ones I did see were all artistically lacking and forgettable, to the point where I held off writing about them. (Although I wrote a tiny bit.) I simply do not have 800 words to express the equivalent of a fatigued, unimpressed sigh. Desperate to see something worthwhile, I have been hoping that November might be a fresh start.
And it sure is. A gorgeous Ragtime from Signature got the ball rolling, but I still craved something exceptional. In comes Solas Nua to the rescue.
After an underwhelming month, I had set a low bar for my artistic satisfaction going into this show. Almost immediately clear from the beginning and even more so by the end, The Honey Trap is one of the finest productions of the year. In a union of excellence, Solas Nua has matched an intensely refined, compelling script with visionary direction, sleek design, and enthralling performances. It is this kind of airtight, intently composed artistry that reminds me why I love DC theatre so much.
Let’s set the scene: In 1979 Belfast, two off-duty British soldiers Dave (Jared H. Graham) and Bobby (Jordan Essex) are enjoying themselves at a local bar when they encounter two attractive women, Lisa (Emily Erickson) and Kristy (Mallorie Stern). The men dial up the charm and self-determination to go speak to them, and soon enough, a delightful night becomes a horrific one. The pain of those memories reaches a boiling point over 35 years later, when an older Dave (Jonathan Holmes) participates in an American oral history project. Recounting the details of that tragic night brings up a lot of questions about what really happened, and Dave cannot keep living without answers or justice.
A tragic event. An interview/interrogation. A quest for answers and hunger for revenge. These are familiar (and beloved) plot elements, so audiences can quickly tell when they are poorly done. Rest assured that this is not the case with The Honey Trap. This intricately composed play by Leo McGann will thrill and satisfy you without waver. From the development of its characters, to the rhythm and bite of its dialogue, to its scene structure and length, this play has been immaculately conceived and refined. It is a fabulous piece of dramatic writing, with an authentically riveting voice that I could only hope to achieve some day. It impressively builds its own story while having succinct yet fruitful discussions on gun violence, generational divides, a united Ireland, US unofficial support of the Irish Republican Army (IRA), and more. And great kudos to the premise and title, and how it is utilized in the plot (no spoilers). Informative, gripping, and thoroughly entertaining, I didn’t want it to end.
It is easy to glean how impressive the writing is because of how stunningly it has been manifested onstage by Solas Nua. An exceedingly well-crafted production, I was constantly amazed by the finesse and intentionality of its artistry. Director Matt Torney makes a welcome return to DC since becoming the Artistic Director of Atlanta’s Theatrical Outfit (formerly the Associate Artistic Director of Studio Theatre). Originally from Belfast himself, Torney has considered every single second of this play, producing the most exquisite directorial work I’ve seen from him. The pacing is finely controlled; the character work from scene to scene is lush and nuanced; the staging is neatly and strikingly orchestrated; and the unification of all the design and performance elements is utterly magnificent. There were times when I questioned why a certain thing was done, but I soon realized why each time. It is evident how much thought and care Torney and his team put into this production, and the results could not be better.
Perhaps the most visually compelling use of Atlas Performing Arts Center’s smaller black box theatre to-date, the complex simplicity of the design was deliciously magnetic. Nadir Bey’s scenic design was ingenious. In the center of the stage, the square diamond playing space was fluidly utilized for various settings. With the lighting poles lined around its edges, the center box visually evoked a claustrophobic room, the playfulness of a sandbox, or a cage for its characters within. The design was also beautifully angular, with the arrangement of the patterned carpet, the positioning of the central box, the light poles, and the theatre back wall, further communicating this layered story and the depths of Dave’s pain. Alberto Segarra’s lighting design was beautifully conceptual, with brilliant use of shadows and specifically colored fluorescents. James Garver’s sound design gave us additional insight into the oral history project while also illustrating Dave’s intense search for answers. Heather Lockard’s gorgeous costume design, particularly during the 1979 scenes, was the cherry on top of a visually sleek production.
Further elevating the piece are stellar performances from the entire cast. I want to first commend them all on their fantastic accent work. Their use of Irish accents sounded impressively natural (which I consider a massive achievement. Oftentimes, I hear an accent just laid on top of a performance, or poorly integrated into the actor’s expression, such as in Round House and Olney’s Ink. This cast clearly worked very hard, and those efforts added so much to the storytelling.) As Dave, both Jared H. Graham (younger version) and Jonathan Holmes (older version) find great vulnerability in such a brash tough guy. Holmes perfectly nails the balance of being a witty charmer and a cheeky rascal. As the interviewer, Rebecca Ballinger gives a calm, reserved performance that enjoyably cracks as Dave becomes more pushy. Jordan Essex is delightful as the sincere, introverted Bobby. Oozing innocent charm, Essex’s performance is a great compliment to Graham’s bombastic one. Emily Erickson and Mallorie Stern are pleasantly catty and alluring as the women at the bar. Lise Bruneau gives a remarkably emotional and nuanced performance as Sonia, satisfyingly toeing a difficult line in the show.
I admit, the plot may not be the most original, but its subject matter of the Troubles and how the story unfolds make for an undeniably engrossing watch. I am so impressed by the chic execution of every detail of this production — you don’t often see dramas with this high level of artistry here in DC. It is my UnProfessional Opinion that you SEE The Honey Trap, and it is UnProfessionally Recommended!
The Honey Trap by Leo McGann
Directed by Matt Torney
Solas Nua
November 2–19, 2023
