Sinking Into Strange Lands

But what is The Farmer's community? His first duty is to his wife Sarah (Lori Stein) and headstrong 16-year-old daughter Evie (Carolyn Marie Monroe). His country's central rulers are at war with the local insurgents—led by The Captain (Chris Macdonald) and his underling, The Translator (Ryan Higgins), the only semi-competent English speaker within many miles—who rule The Farmer's village without pity. The Farmer defers to the cosmopolitan, cynical wisdom of The Trader (Paul Custodio), who's out to trade The Pilot for whatever he can get. His duty is profit.

The characters are each marvelously drawn. A hulking man, Amador invests The Farmer with immense integrity. Macdonald is tough (he reminds me of Ed Harris in Sam Shepard's Fool for Love), yet humanizes The Captain—a cruel martinet with mirrored shades like a racist Southern cop, but also a guy in a tight spot, low on cash and hope. Capitalizing on his American prize is his last chance to extend his losing revolution. The Translator more cruelly suggests that a videotaped beheading might raise the most money and notoriety. Higgins skillfully conveys callow, arrogant ruthlessness.

Adam Sanders

Russell (left) and Warren having an enjoyable meltdown in Big Love.

Details

Big Love Balagan Theatre, 1117 E. Pike St., 800-838-3006, www.balagantheatre.org. $12–$20. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends May 17.

The American Pilot Theater Schmeater, 1500 Summit Ave., 800-838-3006, www.schmeater.org. $15–$18 (pay what you can Thurs.). 8 p.m. Thurs.–Sat. Ends May 24.

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More About

• Charles Mee
• Kaitie Warren
• Seamus Heaney
• Virginia Gabby
• Richard Clairmont

Stein gives Sarah an authentic wary stolidity. Monroe is a radiant dream, and winsomely amusing when teen Evie uses her TV-derived English to offer the downed airman food: "I am breakfast! Eat me up!" Wood could scarcely be better as The Pilot, but perhaps because he's an American imagined by a Scot, he's the least-developed character, with no inner life. The villagers get soliloquies. The Pilot just suffers, rants, enthuses about rap tunes on his iPod, and fails to communicate.

All the roles are schematic, and the plot wanders to a flashy conclusion without exactly having a point. But fine acting, Andy Clawson's eerily beautiful music, and David Gassner's sharp direction make the show gripping moment to moment. It's another basement-dwelling show that's quite on a par with what's at the ritzy Rep. Sometimes the best things in life are cheap.

stage@seattleweekly.com