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Review: “Edgar Sawtelle” revives Book-It Repertory’s legacy

By Aspen Anderson For The Beachcomber • October 16, 2024 1:30 pm

From the start, audiences are immersed in the world Wroblewski so evocatively created in his book.

Tracy Hyland as Trudy, Edgar’s mom, and Jen Taylor as Almondine the dog welcome the newborn Edgar, starting a lifelong bond. (Michelle Bates photo)

After closing its doors in 2023, Seattle’s Book-It Repertory Theatre, a beloved institution known for bringing literature to life on stage, is making a comeback.

Through a partnership with Vashon Repertory Theatre, Book-It’s style returns in a world premiere adaptation of “The Story of Edgar Sawtelle,” now running at Vashon Center for the Arts.

Directed by Book-It co-founder Jane Jones and co-adapted alongside Kevin McKeon, who also serves as the set designer, this production marks a significant moment for both theaters. With its roots planted in literature, the revival of Book-It’s work through this adaptation allows Wroblewski’s haunting tale to take on new life.

Set on a rural 1970s Wisconsin farm, “Sawtelle” explores the bond between Edgar, a mute boy, and his loyal dog, Almondine, as well as the unraveling of a murder that upends their dog-breeding farm.

The play adaptation is based on a David Wroblewski book of the same name which Jones read 15 years ago.

“I was entranced by the relationship of a boy and a dog — on a farm in Wisconsin — a boy who did not speak and a dog who could not speak, but nonetheless created a beautiful language that they understood perfectly,” wrote Jones in the playbill.

From the start, audiences are immersed in the world Wroblewski so evocatively created in his book.

Costume designer Tesse Crocker, who grew up on a farm, chose simple, well-fitted overalls for much of the cast and a denim dress with ruffles paired with a bright blue bandana that perfectly captures the “farm mom” essence for Trudy, played by Tracy Hyland.

“Work wear is a huge part of farm life,” Crocker said in a video shared by Vashon Repertory Theatre’s Facebook. “Simplicity … is necessary in telling such an epic tale that travels many years in moments.”

Stepping into the theater, I was immediately struck by the set’s warmth — wooden furniture, soft lighting and scattered hay evoked a farm life reminiscent of Vashon’s own character.

The stage design mirrors the simplicity of rural living, with minimal but carefully chosen pieces, such as the downstage left rocking chair and the towering barn door upstage. A simple false door with a working porch light subtly marks transitions. The set creates a rich yet understated visual canvas.

The play opens with a bold choice: Almondine, the beloved family dog, is the first to speak.

This unusual choice immediately put me on edge — how does one pull off a talking dog in a serious play? But Jen Taylor’s performance as Almondine is masterful and quickly reassuring. Taylor is steady, warm and she commands the stage with ease, making Almondine a character you can trust.

At the heart of the story is the deep bond between a boy and his dog — Edgar, played by Christopher Morson, and Almondine. Morson’s portrayal of Edgar — a boy who communicates through his own invented sign language — is inspired.

Morson’s performance deserves high praise. The amount of story he conveys without words is jaw-dropping. He sees so much, and brings you into all of it.

His emotions — frustration, envy, love, and pride — are palpable. His expressive face and physicality drew me into every moment and never left me wishing for dialogue.

The play thrives on these subtle, poignant moments.

One of my favorite scenes takes place around the family’s kitchen table, playing cards. These moments, where not much plot unfolds, seem to be the backbone of every production, drawing you into family life that is universally familiar and life-affirming.

The tropes of the “troubled son,” the drunk uncle, the questionable cop and the wife who moves on a little too quickly all work seamlessly in this story.

A moment should be taken to appreciate how the cast skillfully seems to use the entire negative space on stage, with much credit to the four “dogs” often crawling around. This is no easy feat, but it creates an extremely dynamic atmosphere.

In my jumbled notes from the show, I wrote “piano man!” with a heart next to it more than once. The live music and sound effects bring the story to life, created and played by Edd Key, the piano man and music director, shines.

Matthew Synthandone’s performance as Tinder, one of the family’s dogs, was another standout. His mannerisms and physicality — complete with an adoring gaze and awkward leg jiggles — were so convincingly canine that I almost believed he was a dog in a past life.

More than just a story about a boy and his dog, “The Story of Edgar Sawtelle,” is a meditation on the human experience — grief, pride, and our shared but painful inability to forgive until it’s too late.

One line in particular stands out: “Edgar felt as he looked out the window, if he could catch the trees motionless for one second, for half a second, if they stood wholly at rest for the briefest moment, and none of this would have happened.”

We’ve all experienced that moment when we wish time could stand still, refusing to acknowledge that everything has already changed. Edgar’s delivery of this line bottles that feeling perfectly, capturing the heart-wrenching desire to freeze and hold onto life before tragedy strikes.

Despite the play’s heavy themes, there’s humor, too — much of it delivered by Dr. Papineau, played by Chris Boscia. His comedic timing provided welcome moments of relief in a production steeped in loss and melancholy.

Oh, and let me mention again that this story is also a murder mystery — you’ll have to watch to find out whodunit.

With performances running through October 20 at the Vashon Center for the Arts, “The Story of Edgar Sawtelle,” is a must-see for anyone who cherishes theater’s power to transport us—whether through words, silence, or the love between a boy and his dog.

And how sweet is that Vashon Rep — so ably led by islander Charlotte Tiencken — has played this role in the revitalization of the beloved Book-It Repertory Theatre, which was so cruelly silenced by the pandemic and financial losses, is back.

Don’t miss the show.