NRACT's "Diversion" is a Tense, Taut Character Study

In the medical field, diversion means transferring prescription drugs for illegal or unintended purposes. To most of the world, though, the term means to distract or to move away from one’s original course. Scott Organ’s thoughtful play, Diversion, onstage now at North Raleigh Arts and Creative Theatre (NRACT), explores all of these meanings through a close examination of overworked nurses toiling in the ICU. 

This intimate play, tenderly guided by Jess Barbour’s emotional, tense, and wonderfully human direction, gives viewers fly-on-the-wall insight into the working lives of four richly developed characters. First, there’s the instantly likable Emelia, portrayed to perfection by the immensely talented Terri Crymes. Emelia is straightforward, caring, and efficient—everything you could want in a nurse. Even when she’s taking a break, she’s taking care of someone, including Mandy (Juliet Jacob), the young recent hire who, when we first meet her, has fallen asleep in the break room after a “crazy night.” When she’s not napping, Mandy is under the watchful eyes of Mike (Tyler Adams), a sweet, silly self-proclaimed “dude nurse” who is besotted with her, and Amy (Lauren Bamford), who is, to say the least, not Mandy’s biggest fan. Where Emelia is soft and compassionate, Amy is jaded and brusque, with a black-and-white view on right and wrong and little sympathy for wrongdoers.

Their already hectic lives become even more stressful when their boss, Bess (Jennifer Daly), alerts them to an impending diversion investigation. This investigation brings Josephine (Jordi Alexander Montes) onto the scene. Though Jo swears she’s only there to “collect data,” her probing questions and intense surveillance add an extra layer of tension into the mix. 

Josephine’s character serves as an effective plot device and a shining example of Organ’s expert writing. Through her, we learn more about these characters, their private lives, and their reactions to scrutiny. And, as the characters form their own suspicions and defenses, we are tasked with doing the same. The result is a tense 90 minutes that forces the viewer to confront their own biases and, as secrets are revealed, make some tough judgment calls. 

This brilliantly compact story brims with authenticity. Michael Anderson’s set is both detailed and sterile, creating a realistic hospital atmosphere before the first line. A small lounge, a desolate breakroom complete with reminders to “clean up after yourself,” and a flashing board that broadcasts alerts and tracks the passage of time create a world where every second, every decision is pressurized. Similarly, strong performances from the main cast add to the gritty, real-life feel that this production captures so well.

Adams’ Mike is a breath of fresh air, bringing levity and a winning smile into the story. Yet, there’s also a tinge of sadness about him, giving a hint into his personal struggles. That’s a tough mix to capture, yet Adams does so in a way that feels effortless. Jacob also runs the gamut in her portrayal, moving from frenetic to tender and back again. Bamford’s Amy is equally nuanced, revealing a fierce and unexpected loyalty lurking beneath her rigid convictions. Then, there’s Crymes, who is so natural and multi-faceted as Emelia that she ceases to feel like a character at all. Her emotionality and empathy leap off the stage and bring the viewer to a place deep inside this pulsing, breathing world.

Extra-bright lighting (Anthony Buckner) and sensitive music choices (Kevin Aponte) add to the realism and enable Organ’s contemplative script to shine. His writing is traditional in that each character changes and grows as they move through this journey, yet the transformations feel gripping and unexpected. He touches on themes of self preservation, explores how personal connections override “sound” judgment, and points out the lack of humanity in a field that, ironically, centers on it. 

Impeccable writing, directing, and acting come together in Diversion and take viewers down a winding path with no easy answers or clearly-marked exits. Yet, there’s a clean satisfaction here as well. This production sticks to the basics of good storytelling and delivers something streamlined and succinct. In a world of flashy musicals, it’s a palate-cleansing treat and a wonderful reminder of the power of a well-delivered play.

-Susie Potter