Theatre

What would you do when you know youre at the last stretch of your life Would you make amends and patch up broken relationships or just move on and forget Deborah Zoe Laufers dark comedy on the struggles of a dysfunctional family on the verge of an Armageddon captures the human struggle to make sense of our lives by creating meaningful connections, despite our varying perspectives. The production, remarkably done by the students and faculty of WSU Department of Theatre, deeply moves despite the sarcasm and absurdity it employs. As director Terry Converse explains in the Directors Notes, the play relies on the wackiness of the text to show the undeniable sadness that is embodied in each and every character of the play. And for this paper, we shall delve into the complexities of the text and the performance and, using Aristotles six aspects of drama, understand and review the how the production was done.

First, we shall look at the plot. The story revolves around the Stein family the only daughter, Rachel, whose infatuation with Goth is the only means by which she could distance herself from her eccentric family the mother, Sylvia, a recently converted born-again who believes that The Great Rapture will be upon uson Wednesday and the father, Arthur, a 911 survivor who hasnt recovered from the tragedy nor changed out of his pajamas. Joining this mad cluster is Nelson, Rachels secret admirer and a staunch Elvis devotee. In an attempt to take the Steins out of their rut, Nelson ingrains himself into the familys everyday life. He becomes the beacon of hope to a family in distraught he listens attentively to Sylvias incessant rantings about Jesus he gives Rachel purpose by introducing he to science and Stephen Hawkings and he gives Arthur a purpose by involving him in the preparations for his bar mitzvah. There to help and give any timely advice were the marijuana-induced apparitions of a wheel-ridden Hawkings, and a very sartorial Jesus.

Essentially, Laufers writing, with its wide array of underlying themes of family, love, religion, death, science, and iconology, could have easily been a mish-mash of concepts and ideologies. But instead it turns out to be a well-crafted, light comedy with laugh-out-loud twists and turns. There were some parts of the writing that came out half-baked, especially the scenes between Rachel and Nelson, but the comedy turned out well and in good taste. In my opinion, also, Laufer went overboard with the conclusion of the play. It would have been a cathartic sight to see Rachel awaiting the Rapture, with a smile on her face, as she has finally understood acceptance and the meaning of life and family. Instead, we see Rachel, after the supposed Rapture, wondering if the rest of the world had gone ahead or survived. This take was anti-climactic and seemed like ten unnecessary minutes of dialogue between her and Nelson. But despite this, the play redeems itself through its comedy and sincerity.

The cast definitely shines in this production. The actors who played Sylvia and Arthur both present honest performances that lack the ostentatious attempts of young actors their age. They both give out chillingly believable performances that take you to an unbelievable emotional height. Sylvia was played out thoughtfully and in so much detail, avoiding the pitfalls of a character that is bordering on schizophrenic. Arthur tugs at heartstrings in his listlessness, carrying the burden of surviving the 911 attacks. But the actor doesnt wallow in this because we see in his performance a kind of respect for experience that can only be attained through a thorough analysis of the character. The actress who played Rachel presents us with a very relatable character despite the kilos of make-up and out-of-this-world outfits. Her character is a very refreshing sight on any stage since only a few Goth characters are written for the theater. The actor who plays Nelson, despite a crude attempt at Elvis that at times comes to his advantage, plays the role with so much heart as he attempts to connect with a broken family. As the neighborhood wimp, he is played with a sense of stereotype in mind but one that is turned around during scenes that required it.

And in the hands of the talented director, these actors shone immensely. Converse delivers a play that churns out age-old insights on love, family and death. Under his helm, the play becomes a sincere insight on the depth of the human spirit and our innate need to find meaning in our lives, be it in religion or in science. Perhaps drawing from the Theater and Dance Departments recent sordid experience, Converse creates a play that speaks of hope despite what could be a great loss. The style he uses is almost bordering on absurd, but he manages extract the genuine humanity of the play without seemingly forcing the drama. And focusing on the comedy and using the human beings innate need for laughter, Converse is able to relay his message of hope without seeming too preachy and didactic.

Other aspects of the play should also be called to mind. The wonderful bare set was a perfect backdrop for the play. It doesnt eat up the attention which makes the audience focus on the action on stage. Its also a clear representation of the barren landscape that represents the withering connection between the family members, which towards the end is filled with light and hope. In this sense, the lighting design, which I always believe is poetry through color, was a well thought-out expression of the plays thesis.

Over-all, one of WSUs Department of Theatre and Drama last productions truly echoes human strife and shows the power of theater to relate that. It might not be their best production ever, but it is the best production to be remembered by. To the Department of Theatre and Drama and to the people behind it, your love and passion will surely be missed.