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Lasso of Truth

a Drama
by Carson Kreitzer

COMPANY : Synchronicity Performance Group [WEBSITE]
VENUE : Peachtree Playhouse
ID# 4634

SHOWING : September 26, 2014 - October 19, 2014



The sexy, stunning origin of comics’ greatest heroine! Put Wonder Woman, film noir, Gloria Steinem and Gen X comic book lovers in the blender that is Carson Kreitzer’s imagination and what do you get? You get "Lasso of Truth," a rolling world premiere with Marin Theatre Company and Unicorn Theatre. Known for her "muscular and sharp" (CityBeat) writing, Kreitzer traces the origin story and lasting impact of the comic book character Wonder Woman through the life of her controversial creator, William Marston. "Lasso of Truth" is a smart, seductive and wild romp through our sordid history of gender politics and featuring an eclectic cast of characters.

"Lasso of Truth" is a multimedia theatrical experience featuring comic panels by graphic artist Jacob Stoltz (

Director Rachel May
The Wife Tenaya Cleveland
Guy Matthew Myers
Girl Christen C. Orr
The Inventor Kevin Stillwell
The Amazon Bryn Striepe
Click to Submit Cast & Crew Info for this production


by playgoer
Thursday, October 2, 2014
"Lasso of Truth" tells two stories, one about a "bondage perv" who created the lie detector and Wonder Woman while living in a ménage à trois in the 1930s/1940s, and one about a young woman raised on the TV "Wonder Woman" and her quest to get her hands on a copy of the comic book that originally introduced the Wonder Woman character. The two stories are intercut with one another and with a plethora of comic book-style captions and illustrations and with pretty dreadful film clips of a fictionalized Gloria Steinem. It comes across at least as much as a feminist tone poem and screed as a play.

Director Rachel May and the technical team assisting her have obviously put in a huge amount of work to put this production together. The whole thing has a stylized feel, with the female actors capturing the feel fully, while the male actors don’t quite. Matt Myers is a bit too stentorian compared to the rest of the cast, and Kevin Stillwell’s stylization isn’t always as crisp as the rest of the cast. Tenaya Cleveland is pitch-perfect as The Wife, as is Bryn Striepe as The Amazon, and Christen Orr is not only pitch-perfect, but particularly appealing. None of the characters have names, which gives a clue that the themes of the play trump the human stories.

Kat Conley’s set design uses steps and several screens, some stationary and some moveable, to suggest different locales, while Jessica Coale’s lighting design identifies those locales in detail. Elisabeth Cooper’s props include a lie detector that flashes lights at various points (to no particular purpose that I could detect), and Abby Parker’s costume design garbs all the actor appropriately (although Mr. Stillwell had some collar and cuff issues at the performance I saw). The video sequences designed by Jon Summers and Sarah Pindak are sometimes projected on screens that a foreground actor obscures, but they seem to be well-suited to the script and overall artistic style of the production. The same can’t really be said of Kwame Braun’s disjointed pre-show video sequence.

The storytelling itself is my primary objection to this production. The quick cross-cutting of scenes works against the leisurely pace in which plot points are revealed to make an audience feel that smoke and mirrors are being used to distract them. Playwright Carson Kreitzer (whose name does not appear on the program cover; for shame, Synchronicity!) sets a couple of sex-centered sequences in blackness (with "CLOSE ... YOUR ... EYES" projected beforehand), which comes across as clever, but does not make the best use of the possibilities of live stage performance. I prefer a play to a multi-media presentation

Synchronicity Theatre doesn’t seem to be attracting a very diverse crowd with this show. The play apparently has the most resonance with women familiar with feminist issues from the 1970s to the present day. Some voiced their approval or recognition of various lines with audible comments. Their disregard of theatre etiquette extended to allowing a cell phone to ring loudly and repeatedly after the act break. I wasn’t expecting that from a conservative-looking middle-aged crowd, especially since the storytelling techniques attempt to be cutting-edge.

I wish I liked "Lasso of Truth" more than I did in Synchronicity Theatre’s production. In my opinion, the stage direction provided by Rachel May far exceeds the quality of Melissa Foulger’s in "Les Liaisons Dangereuses" at Actor’s Express or Lisa Adler’s in "Detroit" at Horizon Theatre Company, and the cast she has assembled is nearly as talented. If the subject matter particularly interests you, "Lasso of Truth" would be a good theatre-going choice.


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