trauma

Witness a special day for ‘Five Women’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Eclipse Productions of Bloomington (no relation to the student program in Indianapolis) is establishing itself by immersive productions with mature themes. This time, despite the trigger warnings, we have a comedy.

“Five Women Wearing the Same Dress” reveals the quirky genius of Alan Ball, predating his award-winning screenwriting in “American Beauty” and television’s “Six Feet Under” and “True Blood.” Directed by Jeremy J. Weber and Konnor Graber – who show solidarity by attending in matching floor-length gowns – they have us enter through a “closet” to witness the goings-on in the bedroom of Meredith Marlowe (Jen Wells), whose oh-so-perfect sister just got married.

The title refers to the fact that Meredith is one of five bridesmaids in the lavish ceremony at the Marlowes’ Knoxville, Tenn., home in the early 1990s, wearing identical lavender dresses (complete with matching hats and torturous high heels) that they despise. The quintet all find refuge in this room: Cousin Frances (Jada Buehler) is uncomfortably open about being “a Christian” though at her first appearance she quickly breaks the Commandment on coveting, as well as nearly the one about stealing. Trisha (Shayna Survil) had formerly been the bride’s “bad influence” friend, and now that her obligation is done, hopes to find someone for mindless sex. Georgeanne (Kate Weber) is a full bottle of champaign into a respite from her own lousy marriage, wishing a past lover would notice her instead of some other woman in a backless dress. Finally, Mindy (Vera Wagler), the good-natured lesbian sister of the groom, just wants to be away from all the judgmental looks from family and wedding guests.

A clever aspect of this play is that at least three characters become well known to us despite never appearing on stage – the bride Tracy (who all agree is beautiful and successful), groom Scott McClure (whom all the women pity), and the eternal bad-boy Tommy Valentine (former fiancé of Tracy who has hit on or slept with all five other women). As we learn more about past relationships, we see the lasting effects of past trauma that draw shadows over the expected joys of this day.

The performances reveal the unexpected chemistry among these very different individuals brought together by a rather unfortunate uniform. Buehler’s sanctimonious Frances can be a bit much, but her naïve charm keeps her likable. Survil has Trisha wear “jaded” like a badge of honor, or as armor over sensitive scars. Weber plays Georgeanne as someone who has lived a lot in her three decades, mostly for others, but hasn’t given up on youthful exploits just yet. Wagler’s Mindy is the most optimistic and (the irony is noted) girly of the group, though she has her own resentment to work through. Wells’ Meredith embodies her dichotomy as the host (it’s her room, and her joint they pass around) while still feeling stuck as a little sister – being younger than Tracy, Trisha, and Georgeanne, and held back by a traumatic adolescent event. Their interactions build naturally with their shared experience in a pre-smartphone world where all that matters is the sisterhood in the room, contrasted with the formal chaos downstairs and outside the window.

We also get a visit from Mindy’s handsome cousin, Tripp Davenport, played by Jo Moran with the same exuberant charisma they put into the Constellation production of “Alex Gold” earlier this year. Tripp does present a noble challenge for one of our ladies, but we suspect Ball wrote him in for his rather mundane usefulness in the final scene.

Performances run through Sunday, Sept. 8, at the Waldron Firebay Theatre (an intimate black-box stage on the first floor of Waldron Arts Center) 122 S. Walnut St., Bloomington. Get tickets at EclipseProductionsCompany.com.

Traumatic issues taken seriously in new drama

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Over time, I have gotten to know persons who shared their struggles with Dissociative Identity Disorder, which pop culture gave the misleading label of “multiple personalities.” This mental health condition is complex and usually borne of deep personal trauma. 

Therefore, the Trigger Warnings for “Coping with Autumn,” the new drama written and directed by Megan Ann Jacobs for Theatre Unchained, presented by Arts for Lawrence, should be taken seriously.

Autumn (Kyrsten Lyster) is under observation after her arrest for killing her boyfriend. She decides that if you are going to watch, she will give you a show, telling you the story of how she arrived in this unfurnished cell.

During her narration, we meet the occupants of her mind: Dee (Maresa Eileen Kelly), the eternal child who won’t tell her what happened when alone with her father, appears shortly before her mother (Rachel A. Snyder) divorces and moves them from Wisconsin to Indiana. Joy (Ethany Reeder Michaud), the impulsive, takes over when potential new high school friends invite her to a party, then ensures Autumn has a “good time.” When regrets set in, Vera (Roci Contreras), the confrontational, appears to make sure those classmates never bother her again.

Like many misfits, Autumn feels more at home at a distant college. There, she is befriended by Kasey (Brittany Magee). They bond over poetry and spend a lot of time together, until Kasey invites Autumn to a “small” get-together. Naturally, it’s another wild crowd, and then the bag of drugs comes out.

Before her “friends” emerge, Autumn exits, and meets Steven (Thomas Sebald). He seems so nice, and perfect. He pampers her, gives her fancy meals and nice gifts. Then he starts making demands. Is this what love is like? Must be, she thinks, and does everything she can to please him – until she can’t. Kasey has been shut out, and Steven has charmed Mom. Who can help her? I’ll give you three guesses.

The second act features Autumn’s trial and aftermath. New allies include therapist Dr. Weber (Kelly Keller) and pro bono attorney Alex (Joe Wagner), who feels a personal connection to the case. But Sebald returns to the stage as a prosecuting attorney, the resemblance not lost on Autumn. 

Lyster, who has shown so much range in past roles, is amazing here. Magee, who joined the cast late into the production, is incredible in support. Snyder is superb, and by happy accident has a physical resemblance to her “daughter.” Their portrayals of well-meaning but damaged women never slip into cliche and evoke appropriate emotional responses from the audience and each other.

This ain’t “Inside Out.” The two adolescents and child that represent portions of
Autumn’s psyche are neither cartoonish nor comic relief. The dissociation is handled respectfully in smooth transitions with Lyster so that we easily see the four actors as aspects of the same woman. 

Sebald plays Steven so disarmingly kind (when the monster is hidden away), it’s easy to see how men like this character can charm and trap women who find no one believes them when relationships turn abusive. And when he’s a beast, “evil” is an understatement.

Cast and crew took this sensitive topic seriously. During a post-show talk-back, dramaturg Max Andrew McCreary said he shared his mental health research with them, including that according to one source, it is estimated that nearly half of adults have at one time had a sort of dissociative incident, from a moment feeling outside one’s body, all along the spectrum to rare cases of true DID (fictional Autumn’s condition is on the spectrum). All involved took consent into account throughout the entire process, from the first rehearsal. Sebald, who said he had helped workshop Steven/Prosecutor, said this was especially essential for him to feel comfortable in his role. This atmosphere of trust helped make the action in this drama more raw and natural, which some in the audience noted in their comments.

If you have experience with abuse and/or psychological trauma, be careful about seeing this. But for any who can manage, this is highly recommended. Remaining performances are 7:30 p.m. Thursday through Saturday, May 19-21 (post-show talkbacks on Thursday and Saturday) at Theater at the Fort, 8920 Otis Ave., Lawrence (off the north end of Indy’s Post Road). Get info and tickets at TheatreUnchained.org or ArtsForLawrence.org.