Renaissance Explores Many Costs of Living in Its Current Production

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Photo by Ross Zentner

Renaissance Theaterworks' 'Cost of Living'

Jamie Rizzo and Valentina Fittipaldi in Renaissance Theaterworks' 'Cost of Living'.

Milwaukee theatergoers have a rare chance to see a stunning production (and the Midwest premiere) of Cost of Living, a Pulitzer Prize-winning play at Renaissance Theaterworks. The play opened last weekend in the performing arts space also occupied by Next Act Theatre.

The multi-tiered play examines the lives of two individuals living with disabilities, and their caregivers. One of the characters has been in a wheelchair for his whole life, while the other was confined to a wheelchair following a horrific car crash. It is a solemn (but at times, very funny) examination of their world. In learning more about the people with disabilities, we also learn about the hidden “disabilities” inherent in the well-abled people who care for them.

One of the “couples” consists of a wealthy graduate student who is interviewing candidates for his latest paid caregiver. One of them is Jess, a Princeton graduate and bartender, who initially balks at questions such as, “How much life have you seen?” Once Jess gets the job, she remains elusive about his questions but dutifully performs the daily tasks that he requires.

The other “couple” is truly that—a married couple who were fighting on the night that Ani, the wife, was in her car crash. Her husband Eddie was so grief-stricken (and guilty) over the episode that he “ghosted” his wife during much of her long recovery. Now home, with Ani permanently confined to a wheelchair, the couple must make a renewed effort for their tentative relationship to continue.

The play begins in a bar, where Eddie gives a long monologue about his feelings after his wife’s death. Oddly, he is there to meet another woman, who he does not know. Eddie feels that an unknown hand is bringing them together. The situation’s circumstances are fascinating to watch, especially since things don’t come full circle until the play’s final scene.

Renaissance Meets the Challenge in Offering this Show

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Photo by Ross Zentner

Regan Linton in Renaissance Theaterworks' 'Cost of Living'.

Regan Linton in Renaissance Theaterworks' 'Cost of Living'.

In offering this important show, Renaissance needed to go above and beyond in terms of preparing its staff to launch the production. The play not only explores the many “costs of living,” both in the financial and emotional sense, but it is a costly play for any theater to produce. That’s one reason theaters are hesitant to add it to their roster.

In preparing to do this production, Renaissance knew it must “up its game” in terms of dealing with actors who have physical disabilities. In its 30-year history, Renaissance had never dealt with actors who had physical disabilities.

In Martyna Majok’s prize-winning play, the disabled characters must be represented by actors who have similar disabilities. The show’s director, Ben Raanan, is also artistic director of Phamaly Theatre Company in Denver, CO. This is the nation’s longest-running disabled theater company. In creating this production, Renaissance also collaborated with Milwaukee-based Pink Umbrella Theatre Company. Pink Umbrella’s mission is to promote and provide theater to people who have a seen or unseen disability.

When he arrived in Milwaukee, Raanan brought along two cast members who portray the two actors with disabilities. One of them, Jamie Rizzo, portrays John, the graduate student. After seeing him in action onstage with Jess (Valentina Fittipaldi), it was amazing to learn afterwards that this was his first professional acting role. Although Rizzo speaks a bit haltingly, he nailed every word of his dialogue on opening night.

(Audiences can see the dialogue on nearby screens, which assist those with hearing disabilities.)

Rizzo moves almost effortlessly in his wheelchair, which the audience has ample time to observe during scenes that mostly rotate between the two “couples.” His character, John, is as independent as possible, but he is also very explicit about what tasks must be done for him by someone else. Rizzo and Fittipaldi make the connection between their characters seem very believable.

One of the scenes, in which Fittipaldi misunderstands her employer’s actions, is almost heartbreaking to watch. She must struggle to regain control of the situation while not giving away her own secrets.

The other cast member with a disability is Regan Linton, who understudied the part of Ani in a recent Broadway production. Linton has a long list of theatrical credits, which include major regional theaters. She is also a director, producer and disability advocate. She, too, is very believable in her character’s relationship with Eddie, played by Ohio-based actor Bryant Bentley.

The Renaissance production runs two hours without an intermission. It moves forward at a somewhat leisurely pace, belying all the behind-the-scenes activity required to make some of the scenes happen. It takes more than a bit of effort to put things into place when one actor must shave another (using a straight razor), or put an actor in and out of a real shower, or in and out of a real bathtub. Renaissance (and its director and cast) deserve credit for making most of the painstaking, behind-the-scenes work seem effortless (or invisible) to the audience. There’s a large, black-clad backstage crew hard at work throughout the performance.

While many of the play’s moments are sobering, others are quite joyful. Eddie tries to bring levity to the situation with jokes at his wife’s expense. Overall, he is determined to “make things right” after an affair nearly broke the marriage apart. His persistence—even in the face of Ani’s constant rejection—is admirable.

Supporting the production is an intriguing, angular set design (by Sarah Ross), accompanied by lighting (by Sarah Hamilton) and sound design (by Josh Schmidt). As the scenes play out, the recurring sound of a heavy rainfall (during scene changes) slowly changes to sounds that are more casual, more urban, more upbeat. The costumes (by Jason Orlenko) are also casual throughout.

Milwaukeeans won’t get another chance soon to experience something similar to Cost of Living. It is a profoundly moving work that encourages audiences to consider others in their own lives. It would be a good idea to check out this play while it’s in town.   

The Renaissance Theaterworks production of Cost of Living continues through February 12 at 255 S. Water St. (also home of Next Act Theatre). Masks are required indoors (due to current city Covid levels). For more information on tickets and show times/dates, check r-t-w.com, or by calling 414-273-0800.