The Missouri Southern theatre department has yet to show me a disappointing product.

The plays that I’ve seen have consistently been engaging and I often feel that some of the more subtle themes and motifs get passed over by the general audience. This may be the way things are meant to be.

However, it’s difficult to walk away from Humpty Dumpty unaffected. Powerful performances and a solid script make the trip to the theatre worthwhile.

Humpty Dumpty presents a powerful message about the structure of modern society and the uniquely delicate and resolute nature of relationships.

The ending is surprisingly abrupt. As a member of the audience, I felt like I had lost my footing on the bus. I’m hanging on, expecting to gradually move towards my destination when suddenly the driver slams on the breaks. I stumbled and nearly lost my footing.

It made this review difficult initially. The palpable elements are easy enough to address: the set looked spectacular, costuming and direction illustrated the resounding ego of each protagonist before their sense of self-importance became distorted.

These people are practically wounded animals by the end of the show.

Each design element culminates in an aesthetically pleasing manner, which, as I’ve stated, is easy enough to appreciate immediately. Thematic elements took time to fully sink in. I finally caught up with the wave, and the result was profound.

Ryan Odenbrett delivered an engrossing performance. I was briefly troubled by Odenbrett’s transition into a dreamy Nicholson vibe which left me disoriented. As the play progressed and Odenbrett worked himself into fervor, the initial disruption became nothing more than an after thought.

I wouldn’t chalk it up to first night jitters; I know that Odenbrett is seasoned enough that he was fully aware of himself. He was psyching himself up for a powerful climax. He knew he would soon have to throw himself into a brick wall. A commendable performance on all accounts.

The last scene is a difficult one to pull off. There was a tremendous amount of pressure and tension with an ending that is difficult to pull off seriously.

Larry Mitchell has a commanding presence, yet he portrays such a soft spoken character with Nat. He worked well with the stage; the closeness of the location brought the audience near enough to him that he didn’t have to force volume to deliver his dialogue. He projects well, and at such a level that none of his character was lost.

Shelley Keezer was splendidly aloof as Spoon. The little hippy is forced to face reality in such a cruel way and her breakdown was heart wrenching.

Samuel Hydar was clearly having fun with Troy. My only problem is that he seems like such a nice guy. However, this played to his advantage each time he delivered a jeering sexual quip. He was funny and provided much needed comic relief.

Devri Brock. She drew me into the play immediately. Nicole and Max are integral in establishing the audience’s attention. Brock and Odenbrett wasted no time at all in presenting a sincere relationship.

Overall, I can say I enjoyed the play. I know that Tim Klein was eager to work with the script, and the attention to detail (cherry leaves, aye? At least, I was told that’s what that smell was…) in practically every aspect of the production paid off in the end. The cast and staff were invested in their work. Bravo.