Writing a play stands apart as a literary performance. A novel, poem, short story, even letters, diaries, and journalism can be written for an audience that enjoys them alone, and at a time and place far removed from the writer. A new play, though, only realizes its full status when it is fully produced: the actors have memorized their lines, all the furniture and props are in use, the set is constructed, costumes fitted, and the lights, music, and sound effects synchronized with the action. A full production costs a lot, so it helps for the playwright to get a sense of an audience’s reaction and further polish her work before a company commits to a “world premiere.”
That’s where play readings and workshops come in. A play reading can be a very simple affair with a director working the cast of actors through a single walk-through before they read the play in front of an invited audience. The performers use music stands to hold their scripts and sometimes one of them sits apart and reads the stage directions.
Possum’s Monday night workshop at West of Lenin is a big step up from a play reading. In a workshop, the actors use scripts to help with their lines but there’s a nearly complete set, music and sound effects, and blocking (the actors move about the stage and use props). It was clear that the cast had had rehearsals and some time to become very familiar with the script. Even costumes were consistent with each character. Director Rebecca Tourino Collinsworth has offered Playwright Barbara Lindsay a gift for her next revisions through this workshop.
Barbara Lindsay in her opening comments to a nearly full house said that a lot of people contribute to the making of a play. But only bringing her work before an audience could help her learn “where people would listen, or get bored … where they laugh or don’t laugh, cry or don’t cry.” She said it was wonderful to have some many friends show up to help her make her play better.
Lindsay sets Possum in an imagined politcal-social-techno martial law future. All rights have been removed unilaterally by the State and justified in the name of greater security. Cursing and swearing are outlawed and alcohol is contraband.
Former firebrand radical Lucinda Celeste (Macall Gordon) is on the lam, which is like playing possum, in a primitive log cabin deep in the woods.
Her devoted protector and supporter and ever hopeful to-be lover, Rex Eaglejeep (Asa Sholdez) is convinced that the State has revived the search for Lucinda. Lucinda is much less worried. Note to readers: it’s not paranoia if they are out to get youThe pair’s non-stop haggling about security and safety is interrupted by Otto (Connor Kinzer). Otto claims to be Lucinda’s adult son but neither Rex nor Lucinda believe him at first. He eventually proves to be her child. Lucinda has not seen him since he was very young and the State found a way to use threats to his life to get her to betray the location of her husband, Hunter. The State made sure Hunter died “accidentally” while in “re-hab.”
Otto’s there to get to know his mother—and to get her to sign a vacate order because the “Levellers” will be there the next day to demolish the cabin for a new “autobahn.” With the cabin’s location fully known and obviously in the cross-hairs of the State’s Levellers, what will be choices of these characters?
The issues of this play spin around whether to take a stand against seemingly unstoppable State violence and injustice, how to take such a stand, and whether once you know your stand can you ever stop continuing to take it.
The actors provided moving and vivid performances. Especially noteworthy was Kinzer’s preparation (he had the first minutes of his appearance memorized). Sholdez played Rex with a sometimes overly heavy machismo vibe. Gordon’s Lucinda, being the focal person that everyone wanted something from: Rex, Otto, the State, and her own soul—showed great range as first one option, then another seemed to make the most sense.
As to the script, the dialog was snappy and funny at times. Lindsay peppers the whole script with Newspeak terms like hierteers and mandatory voluntary, a clear homage to George Orwell and 1984. Lindsay has a sure set of fingers on the keys.
I wonder if Lindsay intended irony by naming the agency coming to flatten Lucinda’s cabin “the Levellers.” The likely first use of the term Levellers was in 1607: Rural rioters protesting the enclosure of communal lands by greedy landbarons “levelled” the hedges that blocked access. Later, in the aftermath of England’s Civil War, Oliver Cromwell used the word in 1647 to insult and put-down opponents to his plans during debates about the re-organization of the government. The original Levellers spent most of their time toggling between agitation when free and prison.
In the spirit of gentle suggestions, Rex could have shown a bigger range, especially early in the first few scenes. And a few of the arguments and dilemmas might have been enriched by one of the characters, most likely Lucinda, grabbing one of the books scattered about on the set and quoting a passage or two. Lucinda might remind Rex, and Otto, and thus also herself, of historical figures who took a stand such as: Dietrich Bonhoeffer, John Lilburne, Henry David Thoreau, Rosa Parks, Sojourner Truth, and Vaclav Havel.
Disclosure: as a reviewer for Drama in the Hood, I attend shows under the industrywide understanding that a review is bartered for complimentary tickets. It is rare that a request to see a play reading or workshop are honored. Knowing that a workshop is midway on the journey to a full production, these comments are offered in appreciation of the talents of everyone involved with friendly suggestions for improvements.
Cast: Macall Gordon as Lucinda Celeste ][ Asa Sholdez as Rex Eaglejeep ][ Connor Kinzer as Otto Celeste
Production Team: Playwright, Barbara Lindsay ][ Director, Rebecca Tourino Collinsworth ][ Production Assistant, Emily Doyle
Possum, by Barbara Lindsay, directed by Rebecca Tourino Collinsworth. Workshop presentation by Parley. Runtime: 90 minutes, no intermission. West of Lenin. Fremont. One night only, Monday, April 10 at 7 pm.
Comments:
Thank you for the thoughtful review. It’s unusual for a reviewer to make any note at all of a one night staged reading, so I particularly appreciate your interest.
Cheers to you,
Barbara Lindsay