Postmodern theatre can both mirror society and reexamine it in a new light, either accurately reflecting people and events or challenging the culture's preconceived image of itself. While there are no simple answers in life, theatre can provide a new perspective.
Jennifer Bien, student director of this fall's Pen, Paint, and Pretzels major production, recognized the postmodern novelty of Paula Vogel's How I Learned To Drive and presented her show to the 3Ps board. Now, she and the cast are busy rehearsing the 1998 Pulitzer Prize-winning play, set to open Nov. 8 at the Balch Arena Theatre.
"It was a show I've been in love with for years," said Bien, a senior. Vogel's play centers on the main character Li'l Bit as she recounts the tale of her life growing up in a small, rural town. It follows her relationship with her uncle Peck, who teaches her how to drive and then becomes her intimate partner. While the relationship implies hefty baggage, the play's strength lies in the realistic treatment of pedophilia and incest along with an unconventional storytelling sequence.
"I thought she dealt with the subject in an interesting, accessible way," said Bien. "It is a story about survival, learning to overcome, and love."
While not everyone experiences such childhood abuse, most anyone has had experiences that may relate to the story. In this play, the author focuses on a character who, despite having had a troubled past, has dealt with it and moved forward. Li'l Bit becomes a highly respectable woman rather than an object of pity.
"We are hoping to speak to people who are survivors of any type of trauma," Bien said.
Still, the audience receives no simple answers from How I Learned To Drive's script because Li'l Bit's forbidden relationship with her uncle seems fated at times by its circumstance. Vogel echoes the postmodern sentiment "there is no clear answer, only the glaring question" in brave theatrical style.
As a director, Bien has the task of transforming the words from ink to live voices in order to create her own interpretation of Vogel's work. Bien decided to direct after spending most of her time in the fine arts, where she did everything from painting to acting to design-making.
"Being a director gives me ultimate creative control and lets me pool all my fine arts talents and background," she said. She draws inspiration from theatre masters like Sam Shepard and Edward Albee but also notes the large influence of film on her directing.
In creating stage pictures, Bien is most concerned with aesthetics. "I like to think about what an audience wants to see," she said.
Even though Bien takes creative control in the overall look of the show, she knows better than anyone the importance of the actors and technical crew. In her own words, "I'm leading a team of talented players." Certainly, the actors in this production are tackling some challenging roles in this production. Junior Sarah Kauderer will be portraying the role of Li'l Bit.
"It is one of the most challenging because of the many ages I play," Kauderer said, "the journey [of the character], and the things she must experience."
Playing opposite Kauderer, Graham Outerbridge will be taking on the part of Uncle Peck. His character will also be a difficult one to portray. "I hope people can get past the molestation," Outerbridge said.
Other members of the cast include Meg Hammer, Ann Blumenstock, and Sam Rivers, who comprise the Greek Chorus that provides the narration of the play between scenes from different parts of the theatre, a technique taken directly from the ancient Greeks. According to Hammer, "Chorus members play many different parts and it's a challenge."
In addition to the actors, the crew contributes a lot to the overall production, especially in this particular show. "It is extremely metaphorical," said set designer Annie Cardinaux. "Driving is used as a metaphor for a sexual relationship."
Keeping in mind that several scenes take place in the car, the set designers got hold of a '60s style car. Cardinaux elaborated, "The car will be put on a platform in section two and behind the car will be a slide projector screen showing road signs to give the effect of driving."
However, that level of creative ingenuity didn't satisfy the production's crew, who wanted to turn the Balch Arena Theatre into an interactive setting. Along the walls of the theatre, there will be metaphorical road signs pertaining to the play. As patrons enter the theatre, there will be two television screens with running video to set the scene. One will have a drivers' education video and the other will have an educational video on family sexual assault prevention. The goal behind all these extensions of the set is to heighten the full experience.
Those involved understand the play's subject is taboo but feel strongly about putting on the show. When the novel Lolita was first published in the 1950s, it was banned in the United States because of its pedophiliac themes. Almost 50 years later, the Vogel play How I Learned to Drive won the Pulitzer Prize while dealing with the same topic.
In today's theatre, life's truths can be presented without censure and more importantly, without simplification.This postmodern tradition will continue next month right here at Tufts, because, in the words of actress Kauderer, "It shows us what we are and what we can do."
