Set against the Bleeding Kansas era of the 1870s, Bloody, Bloody Kansas is a short but commendable play written by Heidi Van and performed at the Camden Fringe. Alternating between our narrator, Mary York, whose husband goes missing from a wagon trail in rural Kansas, and Professor Kate Bender, a self-professed healer, York’s narration and Bender’s unorthodox practices run parallel until the two characters meet.
Though the play was short, only lasting 35 minutes, I enjoyed the story and its pace. It would be great to see this play expand; it is a gripping story with a focus on the West’s first known serial killer family, and whilst it worked very well in this short format, it certainly has the scope to be a larger and longer story.
The 4-person cast comprised the brilliantly talented Heidi Van, Katie Gilchrist, Vanessa Davis and Bob Paisley. Davis and Paisley switched between characters with ease, showcasing their versatility as actors, while Van and Gilchrist portrayed their opposing characters brilliantly, delivering strong performances.
Though the stage was small, the use of simple props to elevate the story was strong; the use of shadows cast on a white sheet was a reminder that plays don’t need to have the most dramatic props available—sometimes a simple use of light and material is just as powerful in storytelling without words.
Bloody, Bloody Kansas was enjoyable to watch, and I’d like to see what Van’s writing and direction can offer in future ventures.
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