Susan Granger’s review of “Tiny House” at the Westport Country Playhouse
The Westport Country Playhouse opens its 90th season with a virtual production/regional premiere of “Tiny House,” a contemporary comedy by Michael Gotch, directed by Mark Lamos and edited by Dan Scully.
Set on the Fourth of July, it’s meant to be a house-warming gathering. Nick (Denver Milord), an architect, and Sam (Sara Bues), a social-media maven, have decided to leave urban life behind as they settle into the off-the-grid tiny house they’ve constructed for themselves on a woodsy hillside.
They’ve invited Sam’s mother Billie (Elizabeth Heflin) and Sam’s Uncle Larry (Lee E. Ernst), a high-school biology teacher who’s fascinated by the flora and fauna that surrounds them.
Unbeknownst to Sam, Nick has also included their unconventional neighbors, former Renaissance Faire hippies Win (Stephen Pelinski) and Carol (Kathleen Pirkl Tague), whose conversation includes frequent allusions to Shakespearean plays. Plus there’s a ‘surprise’ visit from Bernard (Hassan El-Amin), a quirky hunter/survivalist who warns them of impending doom.
As these five characters banter about downsizing, ecology, politics, and pregnancy, their respective backstories emerge.
Made during the Covid-19 pandemic, the actors filmed themselves in separate locations. Since there’s no physical interaction between them, their performances vary – from captivating, charismatic Elizabeth Heflin to savagely zealous Hassan El-Amin to static, expressionless Sara Bues.
Most jarring are the inconsistent eyelines, which affect the continuity. Eyelines determine where actors look while performing a scene. Matching eyelines is an editing technique that gives the illusion that two characters are looking at each other.
During close-ups, this best achieved by having the actor focus on a mark – like a red X – next to the camera lens. Without skilled eyeline matching, it’s difficult to follow who is interacting with whom.
The camera movement guideline called the 180-degree rule draws an imaginary axis between two characters. When the camera crosses that imaginary line, the characters switch places on the screen.
As a result, their eyelines no longer match up properly and they don’t appear to be looking at one another – which leads to a distracting disorientation, diluting the power of the dialogue and confusing the plot.
But if you miss theater, it’s an interesting hybrid. “Tiny House” streams through Sunday, July 18. For tickets and viewing information, go to westportplayhouse.org or call 203-227-4177.