‘Tis the season when theaters across the country announce their 2014-2015 seasons. Two plays continue to dominate the boards, just as they did last year: David Ives’ Venus in Fur and Christopher Durang’s Vanya and Sonia and Masha and Spike. These shows played off-Broadway in 2010 and 2012, respectively, both transferred to Broadway and both have been top choices for artistic directors across the country ever since.
The bajillionth time I saw that one or the other of these plays will be/have been part of a regional theater’s season, I had to ask myself, What is it about these plays that makes them necessary art right now? Will they help promote the theaters’ stated missions of diversity and attracting new audiences? Are they about healthcare? Immigration? Gay rights? Gun violence? Unemployment? These are issues concerning all Americans these days. Plays about these topics might actually be timely in New York and Los Angeles and D.C. and San Francisco and Nashville and Dallas and Minneapolis and Chicago and Seattle and Milwaukee and Portland.
But neither of these two popular plays are about any of those things. They are both written by white dudes and feature middle- and upper-class, educated white characters. And both plays contain characters who work in the theater. In other words, the plays are set in the same worlds occupied by the mostly white male artistic directors who love them, which may explain why they all find them so relevant. But I’m not so sure that they are that relevant to a theater audience that is 68 percent women (at least in London), and they certainly won’t bring in the young, diverse audiences that theaters claim to be devoted to attracting. Oh, but Venus in Fur does have a dominatrix. So there’s that.
Meanwhile, genuinely relevant, quality plays are being written by women all over the country. Deborah Salem-Smith’s play Love Alone, for example, is an intimate play about family and grief that also manages to take on gay rights and medical malpractice. The story centers on three women at totally different points in their lives: Helen Warren (50s), her daughter Clementine (20s) and Dr. Becca Neal, a 33-year-old anesthesiologist. When Helen’s partner of 20 years, Susan, dies while undergoing minor surgery, Helen and Clementine have to learn to live without her, while Dr. Neal has to deal with her first “bad outcome”–the loss of a patient on the operating table.
The brilliance of Smith’s play is that it works on both personal and political levels. Helen and Clementine go through the same thing every mother and child go through upon losing a family member: They cry, they laugh, they yell and, in the form of a lawsuit against the hospital, they seek an explanation for a loss that can probably never be satisfyingly explained. Witnessing these deeply human experiences allows audience members to empathize and identify with the characters, so that when they discover that Helen–not having been married to Susan–does not have legal standing to hold the hospital accountable, they understand on a personal level how deeply unjust marriage inequality is.
In what must feel like a rare gift to the women in Love Alone, all three characters have complete story arcs that make them more than just wives, mothers and daughters. The loss of Susan changes Helen, who had never been the kind of person who seeks revenge. It changes Clementine, a rock-‘n’-roll performer whose music becomes quieter and more introspective. And Dr. Neal goes from being cold and distant (she experiences the tragedy primarily as a threat to her career) to being compassionate and able to accept responsibility.
Love Alone, which premiered at Trinity Repertory Company in Rhode Island in 2012, will open its second production on March 1 at PlayMakers Repertory Company in Chapel Hill, N.C. Smith shared with me her goal in writing the play:
I really wanted to write a play with a 20-something female who is not in a love story, because I don’t see that person on stage enough, and I think 20-year-old vibrant women have a ton going on in their lives. They’re not just trying to kiss someone.
Smith’s previous plays did not contain gay characters, but as her children have grown older she’s begun deliberately writing them and deliberately addressing issues relevant to gay families like her own:
I started to have a growing realization that as our children are getting older and they start coming to the theater, I want them to see our family on stage. The other motivation was that when we talk about marriage equality in our country, we tend to overlook that the biggest cost of having a lack of marriage equality is on children. Because a lot of gay families now have children, and you put those children in a really perilous positions when you don’t empower those parents to make choices for the family.
I spoke with the director of this production, Vivienne Benesch, about how she thinks the play will resonate with a North Carolina audience:
I hope and expect that it leads to a very genuine conversation about an important topic–marriage equality–that may not even be in the zeitgeist of that community in the way that it should be. I’m also excited to be doing it in the Research Triangle and the medical community, because they understand the ethical tightrope that medical professionals have to walk.
Relevance to the community in which it is being produced? Check. Written by a woman, featuring women characters that can be cast with any ethnicity and therefore add diversity to a theater’s season? Check. Appeal to a young audience by featuring live rock music and projected music videos? Check. No wonder artistic director Joseph Haj decided to produce it. He put it this way:
Deborah’s play is beautiful. Full stop. That’s why we programmed it. It offers aesthetic diversity, a diversity in point-of-view and diversity in style from much of our other work. We’d be crazy not to want that for ourselves. It’s actually that simple. Running a theater is monstrously difficult. Including women and people of color as playwrights and directors is not one of the hard parts of the job.
PlayMaker’s 2014-2015 season includes 4000 Miles by Amy Herzog and Trouble in Mind by the late Alice Childress, who is African American as well as a woman. Of course the season also includes Vanya and Sonya and Masha and Spike. Given Haj’s genuine dedication to diversity, maybe at least he, unlike everyone else across the country, won’t cast it entirely with white folks.