Department of Communications' 'Vertigo' boasts strong cast, suffers from weak story line

When it comes to reality, nothing is ever as it seems.

At least not for John “Scottie” Ferguson, an ex-detective who is hired to follow the mysterious wife of an old acquaintance in “Vertigo,” a Department of Communication Studies adaptation of the classic Alfred Hitchcock film of the same name.

As an adaptation of a film, the play falters. Some scenes are expanded into deep explanation, while others are played through more quickly than they should be.

Clear references are muddied where well-timed camera work likely filled in the gaps in the original movie.

But the twisting plot and well-executed acting overshadow the rushed story and make “Vertigo” a show that holds the audience at the edge of its seat.

The play takes off in a dizzy whirlwind, with an anonymous ensemble of characters waving their arms to simulate the confusing nature of the play. Their sharp costuming pulls the audience into the 1950s.

Then Ferguson, played by senior Lucius Robinson — who wrote the adaptation of the movie — runs on stage, chased by police. The scene is set up to reveal Ferguson’s medical condition — vertigo, or fear of heights — but unfolds too quickly to catch.

Robinson’s deft, pensive portrayal of Ferguson carries the plot. The play gains dimension as Ferguson interacts with Midge, his secretary and former lover, played by junior Celina Chapin.

Midge’s sarcastic wit and outside references add depth and some necessary warmth to the otherwise eerie story.

UNC graduate Chris Chiron handles the supporting role of innocent and concerned husband Elster well. His few lines set up the drama between his wife, Madeleine, and Ferguson.

Madeleine, played almost perfectly by graduate student Marie Garlock, comes off as a sweet woman who is possessed by her great-grandmother, Carlotta.

Elster asks Ferguson to follow his wife and to make sure she doesn’t commit suicide, as Carlotta did. Ferguson is unaware, however, that Madeleine is an imposter, hired by Elster to portray the wife he has already killed.

Her introduction into the plot takes the production to a much darker level. Though sometimes a bit stiff, Garlock’s portrayal of the beautiful Madeline brings just the right amount of fear and resilience to the strange story.

While following Madeleine, Ferguson begins to fall in love with her. Their romance comes off rather abruptly, and at times it is difficult to believe Madeline would be so quick to develop feelings for Ferguson. But the passion between the two actors helps to underline the authenticity of the relationship.

The intensity heightens when a possessed Madeline — played by a silhouette paper cut-out — commits suicide by jumping from a church tower. Ferguson’s struggle with vertigo leaves him unable to save her.

The action from this point on progresses too quickly. After a year of depression, Ferguson meets a young woman named Judy who looks exactly like Madeleine, also played by Garlock.

Judy’s character appears naïve. Although she clearly states she’s not interested in Ferguson after he follows her to her apartment, she allows him to come inside, take her to dinner and eventually alter her physical appearance to become his Madeleine.

The production ends with an intense confrontation as Ferguson realizes Judy and Madeleine are the same person and neither character is Elster’s wife.

Contact the Arts Editor at artsdesk@unc.edu.