Kevin Roost as Lawrence Talbot in Havoc Movement’s “Wolfman.” (All photos by Nicholas Tycho Reed)
Following its success with Dracula: The Failings of Men, Havoc Movement brings Atlanta a monster that audiences have long asked for.
Wolfman, running until November 2 at Windmill Arts in East Point, builds upon Havoc’s dark universe, connecting the play to Dracula, but this new work doesn’t often match that bloody dazzling stunt spectacular. Still, with strong performers, clever acrobatic moments and a damn good puppet, it’s a solid time.
Claire F. Martin as Gwen, left, and Amanda Lindsey McDonald as Dr. Beatrice Chiswick.
Written and directed by Sam R. Ross, Wolfman provides the story of an American werewolf in London named Lawrence Talbot (Kevin Roost), seeking a cure from his affliction. He is discovered naked in a park and arrested for indecency, yet he passes word to Dr. Beatrice Chiswick (Amanda Lindsey McDonald) that Dr. Ada Van Helsing — the hero featured in Dracula: The Failings of Men but unseen here — referred him.
Chiswick brings Lawrence home to convalesce, nursed by her spunky daughter Gwen (Claire F. Martin). Gwen finds herself strangely attracted to Lawrence, who is drawn to prowl the streets at night.
As they attempt to figure out his ailment, mangled bodies begin piling up, and Scotland Yard Inspector George Clarke (Mark Cosby) investigates strange animal attacks.
Gwen (Claire F. Martin) with The Wolf (Puppet design by Essbee Hester/Puppeteered by Kevin Roost and Barry Westmoreland).
Wolfman is fun and occasionally very sexy. Havoc’s greatest strength is its stuntwork and impressive physical feats. Roost’s transformation into the monster is shown as an elaborate aerial routine, using silks as projected images reflect off his body. The moment, designed by Samantha Lancaster, is the highlight of the show. Multiple fights and gunplay coordinated by Jake Guinn are also exciting during the production. Scenes of intimacy designed by Ash Anderson are impressively handled. Filmed segments by Guinn add to the overall spectacle.
And the giant wolf puppet — designed by Essbee Hester and operated by Roost and Barry Westmoreland — is very cool.
The script contains large amounts of exposition in dialogue, much of it given to the capable McDonald and Martin, who imbue their characters with quirks and energy as they deliver large passages of lore.
Roost spends much of the play laid bare, his character drugged and writhing in pain. Still, the audience develops compassion and affection for the character. It’s a demanding role involving movement and puppetry with comparatively less dialogue, and Roost does very well.
And the ending is satisfying fun.
Altogether, audiences should be pleased by Havoc’s latest Halloween jaunt.
Where & When
Wolfman is at Windmill Arts through November 2. Tickets, $35.
2823 Church St., East Point
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Benjamin Carr is an ArtsATL editor-at-large who has contributed to the publication since 2019 and is a member of the American Theatre Critics Association, the Dramatists Guild, the Atlanta Press Club and the Horror Writers Association. His writing has been featured in podcasts for iHeartMedia, onstage as part of the Samuel French Off-Off Broadway Short Play Festival and online in The Guardian. His debut novel, Impacted, was published by The Story Plant.
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