‘The Great Beyond’ is a Collaborative Conjuring

When you walk into Hadley Theater on the Queens University campus for the world premiere of Steven Dietz’s The Great Beyond, running through April 6, you’ll be treated to a rare “don’t-think-about-elephants” experience. Even if you haven’t read the prepublicity around town — including a preview from yours truly — seen the spots on local TV and the web, or thoroughly perused your playbill, your emissary from Actor’s Theatre of Charlotte, artistic director Chip Decker, will call your attention to the elephant in the hall.

While Dietz’s spooky new drama can stand on its own, it was written with an interconnected companion piece, The Ghost of Splinter Cove, currently running through April 7 at ImaginOn in a taut 53-minute Children’s Theatre of Charlotte production.

So once you’ve heard that, can you really be satisfied seeing The Great Beyond without going to see Dietz’s companion piece? Probably not.

If you’ve somehow failed to pay attention to the prepublicity, the playbill and the curtain speech, all of them telling you that the action of Splinter Cove is happening downstairs in the basement of the same house at the same time among the same family as the action we’re seeing upstairs, the parents upstairs will remind you frequently enough of the strange adventure their kids are having below.

More than that, thanks to Evan Kinsley’s scenic design, which offers us a smidge of the home’s exterior, we get glimpses of the basement action through translucent windows that peep above ground. So it isn’t just a matter of Rex, the dad, opening the door to the basement and checking up on how his kids are doing — with prerecorded replies. No, no, no. Beginning with camping gear that he bought for his son Nate’s birthday, Rex has sent them on a wilderness adventure, with a smartphone app hooked up to the home’s electronics simulating the sounds, the natural lights and the weather of the great outdoors.

At unexpected moments, then, the handiwork of lighting designer Hallie Gray and sound designer Rob Witmer captures our attention — and whets the curiosity of the three women who have gathered with Rex for an adventure of their own. The historic collaboration between the two theatre companies is called The Second Story Project, but it’s at Queens that we see why.

Dietz has said that The Great Beyond is a reunion play, and it certainly follows a template we’ve seen before, bringing far-flung and estranged kinfolk — comically or dramatically uncomfortable with each other — together after a death in the family. Here Rex has brought his two kids to the home of his former father-in-law, where his distraught ex, Monica, served as caretaker during Tobias’ last difficult days. Relations between Rex and Monica seem cordial enough, though she isn’t a big fan of his elaborate camping scheme for their children — since it brings an unpleasant family history to mind.

It’s also obvious that Rex retains a genuine affection for Tobias, whom he calls “The Captain” like everybody else in the family. The real family strife will rev up when Monica’s wayward younger sister Emily arrives. Or actually, it begins before, because the rigid and judgmental Monica has labeled Emily as a chronic latecomer — on the basis of one past incident — so hostilities can begin as soon as Emily arrives. On time, of course.

Not that Emily is flawless. A recovering alcoholic who now limits herself to one full glass of wine at the same time every day, Emily has made Dad’s home the last stop on an epic apology tour, launched five years ago when she achieved sobriety, spanning 23 states and two foreign countries. A straight arrow and a black sheep, the bread-and-butter combatants of countless theatre clashes are poised to have it out! But unlike Sordid Lives or Appropriate, two of the funeral-triggered plays we’ve seen before in Charlotte, the dead Tobias will also be invited to the reunion.

You see, Emily is bringing her bisexual partner Rene to this sad reunion, hoping to summon up the spirit of Tobias at a séance later in the evening. It’s Tobias, not Monica, that Emily has really earmarked for receiving her last apology, and she thinks that Rene, a spiritual medium, can make contact to make it happen.

As if the friction between Monica and Emily wasn’t torrid enough already! Now they need the scornful, skeptical, and sarcastic Monica to complete the circle around the séance table. Outnumbered three to one in this tussle — and somewhat pre-empted by Dietz’s two play titles — you can guess how Monica’s opposition to the séance turns out.

As for whether Tobias shows up, I can safely defer to Dietz himself, who was present at the post-performance powwow on opening night. He told us that one of the chief pleasures he found in telling this story came in conveying his 100-percent positive conviction that the supernatural visitations at séances are absolutely bogus and his 100-percent certainty that those visitations are absolutely real.

Whatever you may think of the action around the table, you can’t deny that Dietz has made intensive efforts to sustain our ambivalence, giving us numerous reasons to believe that the house Tobias built with his own hands is in the grip of the supernatural — countered by an equal number of escape routes to disbelief. But to his credit, Dietz leaves us with a giddy sense of confusion rather than a rational set of alternatives as we attempt to arrive at the truth now — and the truth about the tragedy that has haunted the family for nearly 40 years — teasing us out of thought.

That giddy confusion will be compounded once you factor the climax of Splinter Cove into your calculations. If you go to Hadley with somebody — whether an adult or a child — you can expect that the conversation on your way home will be peppered with lively clarifications and disputes.

Decker certainly holds up his end of this historic collaboration. Rather than missing core elements of the script that I’d seen when I read it (a fundamental reason I customarily avoid reading scripts I’m scheduled to review unless I’m planning to interview a playwright before seeing the production), Decker and his superb cast managed to bring Dietz’s drama more intensely to life and reveal the power — and comedy — of a couple of moments that I’d overlooked. It didn’t hurt that Dietz was here in Charlotte, tweaking both of his scripts during the process.

All of these roles are beautifully rounded, so it wasn’t surprising to see the keen relish that the players took in them. It would be hard to overpraise Tonya Bludsworth’s work as Monica, the meanie who has worked so devotedly and so selfishly to be The Captain’s favorite. Bludsworth brings out the humor and the sharpness of Monica’s mocking sarcasm, turns it off when she realizes she’s wrong, has moments of self-awareness and is delightful in so many different ways during the séance she has so grudgingly agreed to. There’s a bit of swagger to her, for all of her starchiness.

Robin Tynes-Miller mixes Emily’s feelings of resentment and remorse to perfection and turns them up high. Her wrenching efforts toward reformation make Bludsworth’s cynicism and rejection all the meaner. Tynes also hones in on just how thin-skinned and childish Emily remains as the younger sib, allowing Bludsworth the delight of intentionally provoking her, elevating Monica’s wickedness at times to villainy. For all her weakness, it is Emily who powers the story forward when her determination is steeled, yet Tynes makes her lapses likable, so we’re still rooting for her when Rene and Rex must rally behind her cause.

Dietz has Rene doing a lot of the heavy lifting when it comes to coaxing Monica to the table — and an even greater share of the calming and reassuring that Emily needs when her frustrations with her recalcitrant sister get the better of her. Tania Kelly does it all with a confident authority, belying Monica’s presumptions of what a medium should be. Not a dreamcatcher earring in sight, and no Whoopi Goldberg kookiness.

As patient and sure as she is at the séance table, unruffled by Monica’s taunts, Rene also takes it upon herself — without any desperate urgency — to rectify Monica’s obsolete assessment of Emily’s character. Rene is the mother of Sydney, the third child downstairs at play with Nate and Cora, and Kelly dials in the right amount of parental concern and trust in Rex. Most of all, when the doors and windows are unlocked, the candles lit, and the incantations begun, Kelly makes us believe that Rene is in earnest and something amazing could happen.

Rex is the glue that binds Dietz’s plays most firmly together, and Scott Tynes-Miller beautifully captures his strength, his self-deprecation and his insouciance. For the most part, Rex’s role is as a peacemaker in the siblings’ brawls, the steadying force that Monica realizes she was foolish to discard. Miller not only gets the last of the play’s four monologues, addressed directly to us, he also demonstrates the closest bond to Tobias, briefly recalling how The Captain taught him to be a man (which turns out to be a surprisingly important plot point). There’s a nice through-line that Miller finds in Rex, for he has a firm and quiet purposefulness, and like Emily, arrives with a mission. That turns out to be yet another way that he binds Dietz’s magical plays together.

There’s much more to the story of The Great Beyond than I’ve disclosed here — with surprises stirred in that are calculated to startle and astound. Much of this story is expanded upon and illuminated in The Ghost of Splinter Cove. So your intuition to see the companion piece will not lead you astray.