Friday, January 13, 2012

Theater Review: How the World Began

Heidi Schreck and Justin Kruger. Photo: Carol Rosegg
A Big Bang in a Small Town Over Faith vs. Science
By Lauren Yarger
Nothing turns into something, both in the Big Bang Theory and in a battle between a teacher and her student over the proper place of science and faith in the classroom in Catherine Trieschmann's intelligently designed play How the World Began Off Broadway at the Women's Project.

Susan Pierce (Heidi Schreck) heads from New York City to Plainview, KS as part of a program that provides certification for those teaching in rural areas. Pregnant, and grateful for the health benefits that come with the job, Susan begins teaching high school science to students whose town recently was devastated by a tornado that killed 17 residents  (the school trailer-like set is designed by Clint Ramos.)
Student Micah Staab (Justin Kruger) stops by after class to ask for clarification on something Susan said during a lesson: that the leap from non-life to life is one of the largest gaps in scientific thought, unless you believe in "all that gobbledygook." Just what did she mean by "gobbledygook," he wants to know. First Susan denies having used the term, insisting that he is upset over nothing. When confronted, however, with the fact that other students in the class heard the same thing, and unable to explain away the comment under Micah's skillful scrutiny, she finally admits that she inadvertently was alluding to religious beliefs, like Micah's that God created the world, which she doesn't share.
A debate about science vs. religion ensues. They discuss spontaneous generation, evolution and how old the earth really is, but an increasingly uncomfortable Susan, citing separation of church and state, ends the conversation saying religious beliefs are not appropriate discussion topics for the  classroom. Micah points out, however, that she already expressed her religious beliefs in class by dismissing God with the gobbledygook comment.

Thinking the issue has been resolved, Susan is surprised by a visit from Gene Dinkel (Adam LeFevre) who has been acting as Micah's guardian since he lost his step father in the tornado. He asks her to apologize for offending Micah and the other students as well as a growing number of townspeople who have heard about the incident (news travels fast in a small town, and the local radio personality even mentioned it on the air).

Susan senses judgment from Gene about being pregnant without being married, about thinking the town's residents are stupid and not worth socializing with (she hasn't attended ceremonies commemorating the planting of a new windbreak or honoring those who died in the tornado) and for not believing in God. They vacillate, however, between being annoyed and genuinely impressed with each other. Not everything always is in plain view, they discover (Trieschmann's double entendre for the town's name is not lost).
Trieschmann exhibits brilliant craft as she creates likable characters (regardless of which side you're on) who interact realistically -- as people of deep conviction, but also of great humanity. They work hard to treat the others with respect and to try to be as open minded as they can, and at some points, they realize they actually like each other in spite of their differences. Susan's refusal to apologize amidst growing furor amongst the townspeople and Micah's warped beliefs about God's judgment, however, might prove too great a gap for peacemaker Gene to cross, especially when neither can evolve from the conviction that they are right.

Tightly directed by Daniella Topol, the performances are sharp. Trieschmann takes on a topic that could have been sensationalized or used to further a political or religious agenda, but instead creates a very caring, thought-provoking piece. The characters are very human: flawed and prejudiced, but well intentioned and compassionate. It's timely -- news stories about conflicts over classroom curriculum choices abound. It's also a welcome treatment in a current political climate where too often those with opposing views are dismissed outright and labeled unpatriotic, stupid, elitist, racist or worse.

How the World Began, in association with South Coast Repertory, runs through Jan. 29 at the Women's Project, presenting at the Peter J. Shapr Theater at 416 West 42nd St., NYC (Playwrights Horizons). Performances: Tuesday through Sunday evenings at 7:30 with matinees Sundays at 3 pm.  Tickets are $60 and may be purchased fromTicket Central at 212-279-4200, noon to 8 pm daily or online at www.ticketcentral.com. Post-show discussions will follow performances on Jan. 19 and 26.

Christians might also like to know:
--Language
-- God's name taken in vain (Note: I would suggest you not let this put you off as there is a bit of added irony here -- all of the use of God's name in vain is by atheist Susan. There's a point here, rather than just a blatant misuse of the Lord's name, I think.)

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Gracewell Prodiuctions

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

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All material is copyright 2008- 2022 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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