Ben Parman’s Starlings is a production that everyone—no matter skin color, religious beliefs or sexual preferences—should experience. Parman’s writing is intelligent and deeply moving, comedic and inspiring, fast-paced and intimate. He adeptly sheds light from various perspectives on the topics of sexuality, race, family and society, and in doing so invites viewers to actively connect with the subject matter in thoughtful, self-reflective ways.
Starlings takes place in a hotel room in Downtown Chicago’s Crowne Plaza—beautifully rendered onstage by set designer Dan Parman—where a gay Christian conference is being held. This is the backdrop for a group of estranged friends who have decided to attend the conference together. We are quickly thrust into the web of their complex relationships as well as their own personal questioning of identity, past choices and experiences, family, relationships, societal condemnation and religious beliefs. Laughs are shared, tempers flare and emotions swell as the characters compare and sometimes heatedly discuss their backstories and challenges. The powerhouse cast that brings such genuine authenticity to the show includes the author himself, Claudio Parrone Jr., Shannon Nettesheim, Amante T. Gray, David Sapiro, Andres Garuz and Robb T. Preston, all directed superbly by Erin Nicole Eggers.
One beautiful moment out of many is Neal’s (Parman) interaction with a man he meets in the hotel lobby, Carlos (Garuz). Carlos believes his son is homosexual and says to Neal, “I did something wrong.” Neal compassionately tells him he has not and asks if he loves his son. Carlos says his son knows he does, but Neal encourages him to role play, to say what he would tell his son if he were there. Carlos does so in Spanish and Neal is deeply affected, not because he understands what Carlos is saying to him, but because the father’s love and utter acceptance in his voice and expression far surpass the boundary of language. Compassion can cross all barriers and sometimes it is all that’s needed to inspire change.
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It’s also worth noting Parman’s astute analogy presented later in the show, in which he compares the issues society has with homosexuality and race to a puzzle of an impressionist painting. People try to fit a piece or two together, get frustrated and then walk away. Parman is inviting audiences not to walk away from social change, but to be understanding even when things get hard.
The play’s title builds meaning throughout. Near the production’s end we are told a rare bird known as the Bali Mynah Starling has escaped from the zoo. It happens to land on the ledge outside the group’s window and they wonder if they should do anything—call the zoo, let it be; is it safe, will it make friends? This appropriately corresponds to our want and need as humans to be able to express ourselves, spread our wings without being boxed in, without being judged, inappropriately questioned or treated like an anomaly. The metaphor also points out that the issue or problem is clearly visible and begs the question: Should something be done or do we just let it run its course?
Soulstice Theatre has brought a truly meaningful piece of theater to its stage and one can only hope that this profound show is embraced and produced many more times in Milwaukee and beyond.
Starlings runs through Jan. 30 at Soulstice Theatre, 3770 S. Pennsylvania Ave., St. Francis. For tickets, call 414-481-2800 or visit soulsticetheatre.org.
