Pictured: Terri Weagant plays Molly Jennis in Urbanite's atmospheric production of Spaceman. Photo by Sorcha Augustine.

Although Spaceman is essentially a one-woman show, the actor on stage might not actually be the star of the show. This is no disrespect to Terri Weagant, who delivers a performance that is, by turns, hilarious, heartbreaking, vulnerable and bold, throwing herself into the role with such energy that I now understand why the woman seated next to me said she’s been waiting for Weagant’s return since 2017’s Bo-Nita. But as much as Spaceman is an actor’s dream, it is a veritable playground for light and sound—and Ethan Vail and Rew Tippin, lighting and sound designers respectively, take full advantage of the opportunity.

Written by Leegrid Stevens, the premise is simple but promising: on a lone trip to Mars, astronaut Molly Jennis must manage the dangers of space travel while confronting the perils of prolonged isolation and a steady overdose of self-reflection. The context makes one ponder every possible definition of the word “baggage.” And the show starts off with a bang. Literally.

Entering the theater, there are signs warning audiences of flashing lights and loud noises, and an Urbanite staff member will verbally repeat this warning. All of this will be ignored. Regardless, you would not be prepared for what comes next. In a triumph of technique and imagination—and using only light and sound—Vail and Tippen effectively transform the theater into a rocket ship, sending the audience on a rumbling launch from an intimate black box into the cold endless void of space. It is a thrilling moment and a high point of the production. Tom Hansen (set design) and Dee Johnson (costumes) also deserve a nod.

Unfortunately, despite the tremendous work done by the entire creative team at Urbanite, Stevens’ script does not fire on all boosters. And even all the passion and movement that Weagant brings to the stage can’t fully compensate for what is not on the page.

Molly’s arc is both truncated and rushed, with the audience dropping in a bit too late in her journey to appreciate the character’s evolution and where she comes from, but at the same time being asked to care as she threatens to unravel further. Having only known this unraveling, it’s a bit like looking at a pile of yarn and being upset that maybe it used to be a sweater. And while dripping backstory provides a bit of the why in something universally tragic, that can only take the audience so far, and rarely into the stratosphere. This is not to say the show is without pathos or emotional impact, but it feels like less than it should be.

In the end, Spaceman is a theatrical experience not to be missed, showcasing Urbanite Theatre’s creative team operating at the height of its transformative powers and delivering a night at the theater unlike any other. But the excellence on display only makes any shortcomings in the script that much more frustrating.

Currently onstage at Urbanite Theatre, Spaceman runs through Feb. 16.

Pictured: Terri Weagant plays Molly Jennis in Urbanite's atmospheric production of Spaceman. Photo by Sorcha Augustine.