Since last year's season announcement, I wondered how they would use the Black Plague as an analogy for pandemics of today. Would it be a directorial choice, or were the references in Anthony Clarvoe's script? The answer is the latter, but really one is so caught in the storylines that the references seem few and glancing at best. However, this is not in any way to be construed as a complaint.

The production, directed by Kay Burcher features a set designed by both Ms. Burcher and Jorja Jean. It looks like it is right out of a museum display. This painted mural is a replication of a large wood cut of a cityscape from the period. It is quite effective to serve the multitude of locations distinguished by a series of platforms and wonderful lighting by Bob Nelson. Equally period, appropriate, and impressive are the costumes which can be credited to Jorja Jean, Bob Weaver, Joyce Gaus, and few borrowed pieces from Colby College and the Virginia Stage Company (Let's hear it for local collaboration in the arts).

The story of the play concerns the events that follow the peak of the plague in London, the point at which the well-off, royalty, and anyone with means, fled the city to the alleged safety of the countryside. While the Lord Mayor deals with the ineptitude of the government in handling the human side of the suffering, the local populace struggles to get by.

Scarlett Black plays Mrs. Sarah Chandler, a wife and mother whose family is doomed. Her loss of property and family combined with no means of escape from the city proves some substantial emotional turmoil, neatly measured and dolled about by Ms. Black. Her mannerisms and bearing, not to mention subtle use of inflection and pause make her, as always, fascinating to watch.

John Graunt, played by Robin Chapman, was strong as well. Chapman, with few bumps, delivers his narrative bits well, but nicely pulls off the jabs at beurocracy. Greg Crabill plays Dr. Edward Harman, a doctor who chooses to stay in the city and treat the ill, when he knows it will likely cost him his life as well. Crabill's skills are improving, this is his best performance at LTVB.

Ann Heywood is delightful

While all performances in this piece were strong, and the ensemble work impressive, it is difficult to discuss each little moment without giving away too much of the plot. This is like any Titanic movie. You know what's going to happen, but it is in watching each individual struggle with their own loss and the crumbling of the world around them that makes them tragic. Go see this show, and take some Kleenex. 

Performance of The Living continue through February 4 at 550 Barberton Dr in Virginia Beach.