Melinda Rhodebeck
In her director’s notes, Glenna Gustin says it’s her hope that Autonomy inspires “some new appreciation of how we are all seekers, alongside one another, on the path of life.” Under her excellent direction and astute handling of Jayme McGhan’s witty, insightful script, this reviewer believes Acacia Theatre Company’s production of Autonomy exceptionally accomplishes this and more.
McGhan’s play invites conversation about the often tacitly avoided topic between family and even friends: religious views and the existence or nonexistence of a higher being. This play addresses some profound themes and poses significant questions, but it’s good to note that the writing is clever and the acting is generously humorous in terms of the lean cast’s well-developed character portrayals. And though the production uses atheism and Christianity to spark intellectual curiosity, the beauty of this script is that either or both of these could be subbed out and onstage critical dialogue of a similar nature could still be had.
In Autonomy, Dr. Marlene “Marney” Rampart (Janet Peterson), a renowned physicist, author and foremost atheistic thinker who lives in Englewood, Ill., has written a book that disproves God—a book that was supposed to be released two years ago. She is hanging on to the only copy, one that she refuses to let go of for hidden personal reasons developed and explored within this play. In addition, we are invited into the afflictions and reactions of four other people in regards to Marney’s beliefs and/or her withholding of the book: Marney’s foster daughter, Sharise Rampart (Lachrisa Grandberry); her research assistant, Dr. Gerald Berry (Graham Killeen); her publicist, Dana Westham (Sharon Nieman Koebert); and her opposition, Dr. Harold Townsing (Allen D. Edge). Each performer provided remarkably nuanced characterization and collectively contributed to a highly stimulating experience.
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Some of the thoughtful questions examined by the playwright include: Why do humans choose such polarizing behaviors when it comes to differing beliefs? How come we acknowledge a religion by name but refuse to discuss and also marginalize the beliefs behind it? At one point, Marney says, “I never lie, I just tell people what they want to hear,” begging the question: Why do we believe that people only want to hear certain things and how do we know that’s what they’re actually seeking—a question very apt in today’s political climate. There is also a great analogy used throughout the script to Connect Four, a two-player game with colored discs that are dropped into a suspended grid. The objective is to connect four of one’s own disc color next to each other before the opponent. Marney references the game during instances of disagreement or attack, saying that if it’s played right, it should end in a tie every time. It’s a stalemate game where no one wins and no one loses if each person just takes time to think before his/her next move. These are only a few focuses of Autonomy and it’s highly recommended that the production be seen to experience the full human reflection inspired by its multifaceted queries and observations.
The Acacia production’s set design by Christopher Kurtz was outstanding. There are three distinct areas on stage that are highlighted by Dan Hummel’s finely executed lighting design: the office of the publisher, which imparts a warm, cozy vibe that’s counterintuitive to the conversations that happen there; Marney’s kitchen, which is small, homey and boasts a table with Connect Four on it; and Marney’s office at the university, which is stark and scientific. This brought excellent balance to the stage and provided each scene with an appropriately specific mood.
Nothing is black and white, and Autonomy reminds us that there is always some mystery, some uncertainty, with everything we internally and externally interact with. It also prompts us to not settle for easy (or media-fed) answers and to remember that if a discovery is new to you, it is important and you should give it its due. The bigger question perhaps isn’t about what is or isn’t, but rather are we able to stop viewing one another as enemies and explore our different beliefs collectively for the greater good of intellectualism and society?
Through March 20 at Concordia University’s Todd Wehr Auditorium, 12800 N. Lake Shore Drive. For tickets, call 414-744-5995 or visit acaciatheatre.com.
Concordia University’s Todd Wehr Auditorium, 12800 N. Lake Shore Drive. For tickets, call 414-744-5995 or visit acaciatheatre.com.
