This past weekend, Theatre Fairfield continued its successful season with its Lucille Lortel Festival of New Plays. Collectively titled “Theatre in the Raw,” three plays were performed: “Minerva’s Mirror,” “Safeguard” and “A Brief History of America.”
Lucille Lortel, a theatre enthusiast, left money to Theatre Fairfield that was used to commission three new plays for the Fairfield University community. Lortel, an actress herself, changed the direction of theater when she opened her White Barn Theatre in Westport, CT in 1947.
Dr. Martha S. LoMonaco, Fairfield professor of theater and co-producer of Theatre in the Raw, detailed Lortel’s methods in her producer’s note.
“The theatre was a converted barn on Lortel’s estate…that could seat 150 people,” said LoMonaco. “For the first two seasons, actors performed with scripts in hand on a bare stage.
The White Barn Theatre was well received, and for this reason, “rehearsal periods were extended, actors performed fully realized characters ‘off book,’ and designers were engaged to create polished productions,” LoMonaco said.
Lortel took a keen interest in cultivating new American theatre by hand picking her audience and encouraging discussion of theater.
After a show, the playwright, cast, crew and audience enjoyed refreshments in the green room. Theatre Fairfield continued this tradition on opening night of Theatre in the Raw.
“The only way to judge a play is when it is performed,” Lucille Lortel said of assessing new theatre. “It is also of great value to see the play presented on stage, because it gives you an idea of the play that you can never get from a script reading. It comes alive that way.”
The Lortel Festival of New Plays fulfilled Theatre Fairfield’s mission statement to “provide a well-rounded, fully participatory theatre experience for the University community.” The playwrights—David L. Meth, Andra Vebell and Dipika Guha—each captured a piece of the Fairfield audience in their plays.
“Minerva’s Mirror”
Meth’s play, “Minerva’s Mirror,” was arguably the most applicable of the three to Fairfield student life, as well as most transformed by the end of the production process.
At the initial stage reading, the audience was not particularly receptive to the play and found the references to popular culture forced, and the content almost too specific to Fairfield University.
The play’s ending also felt like something of an afterthought. Allan, the protagonist’s long-time boyfriend, confesses that he is joining the military due to the repeal of Don’t Ask, Don’t Tell.
One viewer at the December stage reading, a member of the military himself, respectfully told Meth that his portrayal of people in the armed forces was extremely offensive. He believed that Meth oversimplified the complicated reasons people choose to join the military.
This process of evolution not only improved the plays, but also provided an enriching learning experience for those involved with the production. Dakota Trick ’15, an actress in “Minerva’s Mirror” found this to be true.
“It’s been a long journey. I didn’t actually think I would go through so many drafts. The story itself got better and the characters seem more developed,” Trick said. Her comments parallel those of Brendan Freeman ’15, one of the actors in “Safeguard.”
“We were able to have discussions with the playwright about her writing, line alterations, and even character motivations. And in the end, just putting [it] into full production was awesome,” Freeman said.
As Lortel generalized, a play only comes alive when it is presented on stage. This was definitely true of “Minerva’s Mirror,” which most agree improved substantially.
The idea of Minerva as an unseen character was removed, and thus the play became less about the small scope of Fairfield and more about being a college student. The exaggerated presence of Facebook in the characters’ lives was reduced as well, making the story feel more realistic.
“Safeguard”
The other two plays, “Safeguard” and “A Brief History of America” were less altered from their forms in December, but they did not suffer for it.
“Safeguard” was an engrossing story concerning four characters: Cody, Janine, Whit and an unnamed Afghani woman.
Cody is a recently returned veteran of the war in Iraq who is plagued by memories of war. The Afghani woman, played by Grace Janiszewski, is only seen and heard by Cody, but she often steals the scene with her dark, biting comments towards him. She is the reminder of his actions in Iraq. Janine is Cody’s ex-girlfriend, and she is torn between him and her current boyfriend, Whit.
“Safeguard” makes an impact because it addresses a burgeoning topic in our culture: the veterans of the war in Iraq and Afghanistan.
Cody represents a lost group that often goes ignored in our country; he is looking for his post-war identity—a place to occupy in society—and he is at a loss.
The story is about Janine’s struggle to choose between Cody and Whit, but the play is also a statement about the way we view our veterans. Like “A Brief History of America,” it provides a modern perspective on something of an old idea.
“A Brief History of America”
The opening scene of “A Brief History of America” was a welcome relief from the seriousness and intensity of “Safeguard” and “Minerva’s Mirror.”
The play as a whole was strong because of its focused message: the personal lives of Americans are as important as the “traditional” idea of American history. This play was a refreshing take on what it means to be American today.
The essence of the play can be boiled down to one piece of dialogue. “Your home is the place where you grew up,” Sarah tells her childhood friend when they reunite after years of not seeing one another.
“Your home is what it says on your papers,” Roberto replies.
This exchange nods to the fact that “American history” has taken on a new meaning. People—immigrants in particular—have changing ideas of our national identity. Are you an American if you experience your life here, or if the government says you are?
Guha’s play explores this notion, but it was also a charming glimpse into the average, relatable lives of two people.
The Lucille Lortel Festival of New Plays was a fascinating experience for all those involved. The plays certainly delivered, and it is safe to say that Lucille Lortel would have heartily approved of Theatre in the Raw.
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