The reality and truth of a matter is often muddled with personal perceptions. We attempt to distinguish between illusions and facts, using the rational, reductive process of our mind. But sometimes we need to rid ourselves of our predispositions and desire for an ideal reality, in order to fully witness an experience.

Kieran Kredell ’08 invited the audience gathered last weekend at the ’92 Theatre to experience all of this in “Ghosts Vaudevillians on the Summerland Circuit,” his senior thesis production. Kredell, who wrote and directed the piece, used the history and mystery of the Spiritualist Movement to explore the stories of a magician, an author, a medium, and their deceased loved ones.

Set in the 1920s, “Ghost Vaudevillians” centers on Harry Houdini’s (Sean Chin ’09) examination of Spiritualism, a belief in the ability of the dead to communicate with the living. These connections from beyond the grave occur through another human being, known as a medium, who possesses mysterious access to the netherworld. As he tentatively and skeptically explores Spiritualism in order to communicate with his beloved deceased mother, Cecilia (Emma Sherr-Ziarko ’11), Houdini crosses paths with “Sherlock Holmes” author and Spiritualist, Sir Arthur Conan Doyle (Henry Thornhill ’11) and medium, Margery Mina Crandon (Emily Vallillo ’09).

The play intermixes “magical interludes,” in which Houdini performs one of his trademark acts of escape and illusion, and short scenes depicting the various relationships between characters both alive and deceased. Walter (Ben Vigus ’11), Margery’s dead brother, introduces Houdini’s tricks, entering with a large sign in hand to alert us of the coming attraction. These interludes often brought comic relief to the more serious and heart-wrenching scenes, allowing us to see the character of Houdini in performance alongside his wife, Bess (Annie Paladino ’09).

The stage magic blurs the audience’s awareness of what is occurring. The “magical interludes” within the performance create a paradox for the audience, as the illusionary aspects of these magical acts are later unveiled in the séances with the medium, Margery.

Thus, any sense of disbelief caused by Houdini’s performance is resolved, as the audience is made aware of how the illusion is performed. One questions the intent of the moments in the show where the audience is not made aware that an actual performance is going on.

Margery performs a series of séances throughout the play, communicating with Walter.

Vallillo is fantastic in physically embodying the process Margery undergoes when making a spiritual connection with the dead. These scenes are very well staged, with Vigus playing both Walter and a member of the team of scientists trying to validate Margery’s abilities. They further display the vaudeville style employed throughout the piece. In this case, a followspot highlights Walter’s face in an otherwise sparsely lit space, drawing attention to his character’s ethereal quality as he sings and jests.

Ian Agoos’ ’10 set design brings the production together. His use of interlocking metal crossbeams (akin to scaffolding beams found on city streets) sets a simple, patterned framework as the background, creating a versatile space for the actors. Concentric metal rings adorned with lights served as a chandelier fixture, whose outer ring was lowered and doubled as a table during the séance sequences. The minimalist set design provided for many creative opportunities for Kredell’s cast to play within.

Essentially, the play weaves together many moments, allowing for different interpretations due to personal biases. Kredell and his cast succeed in creating a philosophical examination that invited the audience to see beyond what they want to see.