Photo Credit: Maureen Janson Heintz
The How and The Why
Renaissance Theaterworks opens its 30th season with a drama that appeals to the intellect more than the heart. That’s the good news—and the bad—about its current show, The How and the Why. It which opened last weekend at the company’s new home, the performance space on Water Street.
As the play opens, two female scientists meet in the expansive university office of the older woman, Zelda. She’s an accomplished professor in the field of evolutionary biology. Her visitor, Rachel, is a graduate student in the same field who is studying at another university. The two women regard each other warily, and it’s clear that there’s more to this connection than is initially suspected.
The women begin discussing details about a professional conference that Zelda’s university is hosting. Oddly, Zelda then wants to talk about the men in their lives. Zelda is single and lives alone. When Rachel mentions her longtime, live-in boyfriend, Zelda almost immediately suggests that they marry. She says such an arrangement makes financial sense, given the lifetime of income tax advantages Rachel will reap. This odd, disjointed conversation continues for most of the first act, even as the audience will surely guess what’s behind this mysterious dialogue.
Photo Credit: Maureen Janson Heintz
The How and The Why
Obvious Connections
Indeed, playwright Sarah Treem does a rather clumsy job of obscuring the obvious connection between these characters. Instead, she allows them to discuss at length their respective research subjects. Zelda has made her mark on evolutionary biological science with the “grandmother hypothesis,” which explains why post-menopausal women are valued in a biological sense. She has received a multitude of professional awards, grants, etc., for her work, and she serves on numerous prestigious boards.
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Rachel, on the other hand, has an explosive new theory based on “menses as defense,” in which monthly menstruation is caused by the female body’s attempts to flush out any bacteria or pathogens that may have been introduced via copulation. Zelda reminds her that her own findings about the “grandmother hypothesis” first emerged when she was about Rachel’s age.
Zelda is so impressed by Rachel’s ideas that she invites her to present her findings at the national conference, which is to be held in a few days’ time.
It’s clear that both women are incredibly passionate about their discoveries. But anyone who has been bored to tears by an academic who goes on and on ad nauseum about their research while being oblivious to attempts by others to switch the subject will get a strong sense of déjà vu.
Even though the scientific research in Treem’s play is based on actual research, this alone doesn’t make for an emotionally satisfying evening of theater. One can easily see why such a play would attract Renaissance Theaterworks, Milwaukee’s women-run theater company. The play, written by a female playwright, examines the personal sacrifices women have made to succeed in a largely male-dominated field. It also has much to say about gender politics, academic freedom, personal values and generational differences, among others.
Photo Credit: Maureen Janson Heintz
The How and The Why
Professional Success Can Be Bittersweet
Zelda has become incredibly cynical over the years. In no uncertain terms, she tells 28-year-old Rachel what is at stake in being a woman trying to get noticed in the scientific community. Rachel, however, is not dissuaded. She has confidence in her own hypothesis, as well as in the stability of her relationship with Dean, a male graduate student. On the matter of relationships, Zelda has not had much luck. She pronounces that “love is (a type of) stress; it’s the Stockholm Syndrome, gussied up.” Later in the play, she tells Rachel that life is “either boring or hard.”
Gee, hearing that statement would certainly make you leap out of bed every morning, wouldn’t it?
Only an actor as supremely talented as Mary MacDonald Kerr could give her character (Zelda) enough redeeming qualities to retain the audience’s interest. In every movement, every bit of stage business, MacDonald reveals her conflict over Rachel’s very presence in her life. It’s clear that Rachel triggers a host of unhappy memories and unfulfilled desires from long ago. It’s a masterful performance which alone should make theatergoers want to experience this show.
As Rachel, Elyse Edelman seems to struggle with her character. For one thing, Edelman seems far more mature than one would expect of a 28-year-old grad student. She veers between treating Zelda with respect and derision. Rachel also has a habit of suddenly bursting into tears throughout the play. Such emotional displays are as head-scratching to the audience as it is to the repressed Zelda. Edelman is a marvelous actress who has soared in her numerous past productions. But here, she seems to be a bit lost. Perhaps this situation will reconcile itself in subsequent performances.
Some of Edelman’s uncertainty could be attributed to Suzan Fete’s direction. Fete is the company’s artistic director and co-founder. She has directed dozens of productions and has acting credits as well. Many of her plays, such as the complicated Top Girls, can be quite tricky to navigate. Yet, Fete seemingly had no problem in turning that production (and others) into a triumph.
A two-hander such as The How and the Why fits nicely into the intimate quarters of the Renaissance space, which is owned by Next Act Theatre. Madelyn Yee’s set creates a sumptuous and impressively tall university office, where much of the play occurs. The second act, which is set in a dive bar, might have been more effective if a scrim had been placed between the makeshift tables and chairs and the hulking university office behind it. Even Noele Stollmack’s excellent lighting can’t keep the audience’s attention away from the office’s extensively detailed surroundings.
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Zelda’s age-appropriate professional attire and Rachel’s grad-school grunge look are courtesy of costume designer Jazmin Aurora Medina. Sound design is provided by Josh Schmidt.
The Renaissance Theaterworks’ The How and the Why will be performed through Nov. 13 at 255 S. Water St. Masks are required indoors. For more information on tickets and show times/dates, check r-t-w.com, or by calling 414-273-0800.
