Elisabeth Vincentelli

Elisabeth Vincentelli

Theater

Adapted ‘Deliverance’ proves the power of ingenious stagecraft

Unlikely as it may seem, off-Broadway’s “Deliverance” is indeed a stage version of the original “Men vs. Wild” story, where four city slickers on a canoe trip end up battling raging rapids and psycho hillbillies.

But don’t expect that infamous “Squeeeeeal like a pig!” line — that was in the movie, and this intense little production is based on James Dickey’s original 1970 novel.

And there aren’t any boats or weapons, either.

The tiny square stage is bare, the audience sitting on all four sides. The actors don’t use any props.

When our four buddies sit in a bar discussing their upcoming trip down a dangerous Georgia river, they drink from pretend bottles. Later, they mimic paddling and mime shooting from bows.

Real instruments are, in fact, used during the encounter with a musical-minded local — but instead of “Dueling Banjos,” we’re treated to an impromptu hoedown with banjo, guitar and harmonica.

This minimalism doesn’t deter from the action in the least. It’s actually amazing how much pulse-quickening suspense ingenious director Joe Tantalo and his excellent cast create.

From the beginning, it looks as if Lewis (Gregory Konow) is going to be the group’s alpha male. An experienced outdoorsman, he prattles on to his pals about survival.

Jarrod Zayas, Sean Tant, Gregory Konow and Nick Paglino in “Deliverance.”Jason Woodruff

Yet when the trip goes off the rails, Lewis gets incapacitated and it’s his friend Ed (Nick Paglino) who must take over.

And things do get bad. The canoeists are ambushed by mountain men. One of them (Bryce Hodgson) rapes portly Bobby (Jarrod Zayas) in a restrained but harrowing scene. Another (Jason Bragg Stanley) shoots Drew (Sean Tant).

Nature itself turns hostile when the boats capsize in a thrillingly staged scene. Then, as with much of the show, Ien Denio’s excellent sound design plays a huge part shaping the atmosphere.

At times we hear the bubble of a brook; other times, it’s roaring white water. When Ed goes hunting, it’s all about the rustling of leaves as a deer runs through them.

The show deflates when the surviving men crawl back to civilization, mentally and physically broken. And admittedly, the crushing power of nature plays such a key role in the story that its absence is felt here.

But, as a lesson in the power of evocation — and in entrusting your audience to fill in the blanks — this “Deliverance” holds water.