A tale of dark family secrets, dysfunctional dynamics, and psychological disorders to the extreme, The House of Yes is a captivating play by Wendy MacLeod that was remade into the cult 1997 film of the same name. It is now brought back to the stage with ingenuity by The Greenhouse Ensemble at The Franciscan Community Center.
It’s Thanksgiving Day at the Pascal estate and the family are preparing for a hurricane while they await the arrival of Marty Pacal (Cory Haynes) who is bringing his fiancée Lesly (Jenny Ward) home to meet them for the first time. Marty's twin sister, Jacqueline (Reanna Armellino), recently released from a psychiatric hospital, is ecstatic about the arrival of Marty, to whom she has an unhealthy and obsessive attachment, but when she learns about Lesly and the impending marriage, she becomes distressed and, over the course of the night, reveals her borderline personality disorder behavior. Referred to as "Jackie-O" by her family, Jackie has had a long obsession with the Kennedy assassination and the former first lady, whose style she emulates. It becomes increasingly clear that Marty’s choice in Lesly, who is of a lower socio-economic standard than his own family, was partly to find an escape into normalcy.
Jo Anne Sellers plays the matriarch of the family, giving off just the right amount of indifference. Her cold snobbery veils the evil lying underneath her coping mechanism called denial. Armellino as Jackie-O is flawless in this role and remains compelling throughout the entire show, effortlessly providing varied shades of her character’s psychosis and inner turmoil. Her standout interpretation, strength, and intensity carry the play throughout. Cory Haynes as her twin brother is exemplary in his role as the preppy boy trying to buy himself a realistic dream free of messiness. Jenny Ward as Lesly provides the relief and balance of normal with her portrayal of the unwitting fiancée, and gives a brave and truthful performance. And Spencer Scott, who plays Jackie-O’s half-brother, Anthony, is suitably vulnerable and a joy to watch, convincingly portraying a character that is both protective of his sister and at the same time ready to relieve himself of any morals if they infringe upon his own personal gratification.
Every character in the play seems to present one face while struggling to suppress their true inner maladjusted selves, which makes for a riveting story superbly directed by Hazen Cuyler. Cuyler has sensitively manipulated his actors to create just the right balance, and his clever utilization of two stage levels, often showing us two scenes simultaneously, is thoroughly engaging, providing a satisfying fly-on-the-wall experience. If it’s an entertaining story with polished performances you’re after, you have only to say “yes” to The House of Yes.
