No one wants to stay in a small and rural town of Kansas, where the only action that arises are the people who pass through it. These towns are good for one thing: transitioning from one place to another.
Citrus College Haugh Performing Arts Center approaches William Inge’s 1955 “Bus Stop” as a mellow and strung-out way to depict the big problems of a small town world; or, as big as they can get. Just like the dull state of Kansas, “Bus Stop” is a lifeless play with nothing very interesting about it.
Throughout the exposition of “Bus Stop” the audience familiarise themselves with the characters that should drive the show.
Grace Hoylard, the owner of the diner who finds herself in a lackluster romance with a bus driver, Carl, portrayed by Carlos Medina. The two characters cease to be visible after the exposition and do not return until the final act. Or Will Masters, the ornery town sheriff, portrayed by Jose Menchaca, who although is intriguing in the first act of the show, his story falls through when he disappears for most of the show as well and does not explore the depth of his character.
Even two of the most vital characters dissolve from the show and make it appear as if they do not want to be there.
The characters of the play are characterized by their minor problems; as a result, it becomes difficult to carry compassion for them. The problem with “Bus Stop” is the character’s problems are so dull, none of them go through an ultimatum of change.
Cherie, played by Tyler Howard, a flirty nightclub singer, spends the first three-quarters of the show terrified of her fiance, Bo. Yet, in the last 15 minutes decides she really does love him. Though it is a happy ending, the absence of modified characterization is anything but endearing.
The strongest elements of “Bus Stop” were illustrating the quaint and down-to-earth qualities of a town in the middle-of-nowhere.
Sound Designer Bill Georges supplied the country music that comforted the audience in between scenes.
Set Designer Dan Volonte meticulously captures the charisma of a small, southern diner with its archaic advertisements hung on the walls, and roomy furniture speckled around the diner. The front door of the diner is cast in a frosted hue and creates the setting of a winter day.
The actors are strong, particularly, Menchaca, Howard and Jared Sandoval, in captivating the audience with their southern drawls.
“Bus Stop” follows the classic archetypes: a hero, played by Menchaca as the town sheriff, a damsel in distress, played by Howard as Cherie and a caregiver played by Jessica Pineda as Grace, the owner of the diner. Though these roles are important, the obscurity of their storylines results in a lack of appealing to the audience on an emotional scale.
By the end of the show, “Bus Stop” makes a full-circle in opening and closing the diner and saying farewell to those who leave the small town; however, the final act is underwhelming and feels as if nothing truly happened.
Even though the storyline is present and the characters are personas we are all familiar with, “Bus Stop” outwardly lacks doing anything creative with a simple storyline. It remains as it is; a show that no one really wants to stay in.
