Who will YOU believe?

There’s no way Adriane Galea could have known 17 months ago that the script she chose to open Outvisible Theatre Company’s 2018-19 season would be so timely that one could understandably suspect it was sneaked into the schedule to take advantage of the heat generated by the latest news cycle. But the universe works in strange and occasionally miraculous ways, and so the producing artistic director’s decision all those months ago to present the world premiere of Jeff Stolzer’s “Unsportsmanlike Conduct” while Americans are choosing sides in our latest political quagmire can be chalked up to a fortuitous act of serendipity that stamps the production with a “must-see” label as it grapples with a subject that threatens to tear apart an already fractious country.

Written about six years ago after a series of high-profile sexual assault cases caught his attention, Stolzer’s story opens as a young woman wakes up in the bed of a high-profile football star who brought her back to his hotel room after she approached him in a bar following his appearance at a fundraiser the night before. From there, the playwright – in a manner you’d expect of a trial lawyer – begins unfolding the aftermath of that fateful night. And he does so in a way that “we the audience” become “we the jury” – with the first half of the play detailing the morning after and what leads to a charge of rape, and concluding with the court testimonies of Kaylie and Noah.

Jeremy Kucharek and Danielle Wright

Who’s guilty and who’s not is never revealed –and that’s the genius of Stolzer’s concept. Instead, he first gives us insight into his characters’ characters as they go about their one-and-only morning together. Then, in what could be described as the play’s third act (the show runs 70 minutes without intermission), we observe for the first time through their individual testimonies what happened on the infamous night in question.

But is that what we’re truly seeing?

As in most – if not all – cases in which there are no witnesses and little proof-positive corroborating evidence, “we the jury” must make our decisions based on the details we are provided. But as their “he said/she said” testimonies unfold, two things become evidently clear: Each is trying to shape their story in the most positive light; and both aren’t totally truthful.

So who’s right and who’s wrong? What’s true and what’s not? What’s a jurist to do?

Talk. Think. And vigorously debate – which is what we Americans should be doing as the Kavanagh-Supreme Court fiasco plays out. And while there was no talk-back following the opening night performance, I did overhear theatergoers reacting to what they had seen – some whispered in hushed tones – and that led me to believe Stolzer’s evil plan to stimulate a much-needed discussion one performance at a time is succeeding.

And that’s a good thing.

About the production

Danielle Wright and Jeremy Kucharek

Although the above paragraphs provide a very high-level analysis of Stolzer’s script, I focus mostly on its overall theme and the concept he used to tell his story. What I did not do is dig into the nitty gritty of the script; that is, I did not provide any in-depth analysis of it, such as whether or not his dialogue rings true, or how successful he is at creating realistic and believable characters.

I also didn’t discuss the production itself.

There’s a reason for all of that.

It’s called “conflict of interest” – and that’s what prevents me from actually talking in detail about “Unsportsmanlike Conduct.”

How? Why? Because I was part of the process that helped Galea decide to produce and direct the script – and as a member of the American Theatre Critics Association, I believe that disqualifies me as an objective critic of the work, even in a setting such as this.

Back in April 2017, Stolzer was one of five authors whose work was produced as part of Outvisible’s first-ever Detroit New Works Festival, and I was honored to be one of the small team of judges she asked for feedback. As such, I attended all five staged readings and offered verbal commentary at the festival to both the audience at large and privately to Galea. In addition, I also provided individual written feedback to each of the authors. Plus, I was in full agreement that of the scripts given a reading, Stolzer’s was ready for production with little or no additional work needed. (It also helped it was the one Galea really, really wanted to direct herself!)

So while I suspect nothing I contributed made a bit of a difference in the end result, I must refrain from offering any additional commentary about the show other than what’s above and in The Bottom Line below.

The Bottom Line: A timely and thought-provoking show that is guaranteed to generate much needed discussion – heated and otherwise.

“Unsportsmanlike Conduct” continues through Oct. 7. For complete details, CLICK HERE!

Danielle Wright and Jeremy Kucharek

Edited for clarity Oct. 6, 2018

An affecting journey

While many (if not most) plays strive to generate a reaction from its audience, none has been so affecting in recent memory as Kickshaw Theatre’s season opener, “Milvotchkee, Visconsin.” And for many, I suspect, it will hit way too close to home for comfort.

That was certainly case for my friend who accompanied me to the performance.

The oddly titled “Milvotchkee, Visconsin” (which will make total sense as the plot unfolds) tells the story of a woman’s descent into dementia (likely Alzheimer’s disease) vividly told from her point of view. A mother and long-time tour guide, Molly finds that she can no longer remember the detailed facts behind the rather unusual park at which she’s worked for many years. And as her story unfolds, that’s not all she doesn’t remember.

Anyone who’s ever watched as a family member, loved one or friend slipped away as a result of a dementia-related disease will likely nod their heads in quiet acknowledgement as Molly’s world slowly slips away. It’s a frustrating experience, not just for her daughter, son and others with whom she must interact, but also for Molly herself. Especially for Molly.

Michael Hays, Nancy Elizabeth Kammer

And that’s what playwright Laura Jacqmin’s unorthodox approach to the subject matter excels at revealing. Subtitled “a comedy about a tragedy,” Jacqmin presents her story as seen through the eyes and deteriorating mental state of Molly herself. As such, the audience observes what transpires in Molly’s life as interpreted by a brain no longer anchored in reality. Hence, her mental state becomes the result of a hole in her head caused by lightning, while her children interact with her in rather unflattering ways.

It’s the disease, then, that is telling the story, not Molly. And it’s not a happy or hopeful one.

Luckily, though, it’s a rather well staged and acted one. In conceiving her production, director Lynn Lammers embraced the odd-ball nature of the script, yet maintained within her concept a sense of realism to the world inside Molly’s head.

As such, you almost want to smack her son and daughter (played so well by Aral Gribble and Sonja Marquis) for how poorly they seem to treat their mother. And you begin to wonder why the family would allow such a quack of a doctor (brilliantly played by Dave Davies) to treat their mother. But then you remember: That’s how Molly interprets their actions and behavior; we’re not privy to what was really said and done.

Although additional fine character work is provided by Michael Hays and Brenda Lane, the focal point of the show is Molly. If you don’t believe she’s experiencing a breakdown in her mental faculties, the show falls apart. Simply put: Nancy Elizabeth Kammer nails it.

And I think that’s what disturbed my friend most on opening night. What Molly revealed through Kammer’s spot-on facial expressions, tone of voice and behavior mirrored those of his parent who’s been living with dementia for a handful of years. It’s been tough for him, and this night at the theater was not what he expected. (I knew he was troubled by the show when he didn’t want to stay after and visit with one of his favorite actresses.)

However, I think he’d agree that Kickshaw’s season opener is a powerful one. Just come prepared for an experience all of us – especially those of us getting up in years – may face in the not-so-distant future. It just won’t be as humorous or well executed.

The bottom line: I went in to the show knowing nothing about it – I didn’t read the press release beforehand – and left impressed by the care and creativity the author, director, technicians and actors put into presenting this most difficult subject.

“Milvotchkee, Visconsin,” which runs through Oct. 7, is presented through the generous support of Glacier Hills Senior Living Community and Saint Joseph Mercy Health System. Also participating are Michigan Alzheimer’s Disease Center and Alzheimer’s Association. For complete show details, CLICK HERE!

Brenda Lane, Dave Davies, Nancy Elizabeth Kammer

All photos by Sean Carter Photography