By Lisa Gauthier Mitchison,

Clay Mabbitt in the Fonseca Theatre Company’s “Building the Wall”

The new Fonseca Theatre’s inaugural show is a political gut-punch. Robert Schenkkan’s Building the Wall portrays a potential future under the Trump Administration where radical measures are taken to eliminate the “threat” of illegal immigrants. The gruesome potential is laid out with no spin-doctor to soften the blow.

Set in a prison visiting room, the play is an intense conversation between Rick, a former prison supervisor—the one now wearing the orange jumpsuit—and a college professor, Gloria, who wants to pick his mind for answers about the events that led to his incarceration, giving Rick the opportunity to tell the world his side of the story.

Rick is defensive, fierce, and a Trump supporter. Gloria is appalled by him and self-righteous in her own liberal viewpoints. They volley accusations about Trump vs. Obama, but no one wins any of these numbers games.

Milicent Wright in the Fonseca Theatre Company’s “Building the Wall”

Clay Mabbitt’s Rick is torn apart. We get (too much) information on Rick’s past, but the integral parts of the dialogue show us how he was snowballed into a situation similar to those who ran the Nazi death camps. Mabbitt knows Rick is inherently aware of his culpability in the events, but he also has Rick firmly in the self-justified position of “just following orders.” Mabbitt’s agitation reflects both Rick’s anger and the weight of his guilt.

Milicent Wright as Gloria takes her character from certainty to incredulity to horror as she takes in Rick’s story. She comes into the room expecting one thing and instead is left reeling when faced with unfiltered realties. But in the play, Gloria’s character is really used as a sounding board for Rick’s cathartic admissions.

The series of events leading up to the immigrant camps is easy to believe—too easy to believe. It is a future that feels too chillingly possible.

The show drags some, but this isn’t necessarily director Bryan Fonseca or the actors’ faults. There is a lot of lead-up that bogs the show down, even with its short 90-minute run time.

This is Fonseca’s fourth time as a founding member of a theater. This and the next production will be held at their temporary spot at Indy Convergence, but the theater company has just closed on a permanent location, which will hopefully be open by their third show.

  • Through Oct. 7, Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 2 p.m.
  • $25; $20 students; $15 for Near West residents
  • Indy Convergence