Bathsheba Doran, author of The Mystery of Love and Sex now on stage at Dobama Theatre, stated of the script, “I had no plans for subject matter. I never do when I begin. As my play stormed out of me, unstoppable and violent, I was horrified. The experience was deeply unpleasant, emotionally. I was the most embarrassing of writers in the café where I worked: tears streamed down my face as I stabbed out the dialogue on my keyboard. I looked up once, just in time to see a nearby guy whisper amusedly to a girl: ‘Whoa, she’s really into it.’”
She continued, “Not only was I going through the torture of the writing. I was going through the torture of writing something I was convinced was unproduceable. I believed this absolutely, that is how thoroughly I had absorbed homophobic wisdom about what is and isn’t acceptable material for a play. I persevered with the script only because it was obvious to me that the emotions in the play needed to be exorcised from my body. When the play was finished, I could trash it, and move on with my life. That is what I told myself until I typed ‘the end.’”
How wrong Doran was. The script is producible, the story compelling and illuminating, the over-all effect, at least on the Dobama stage, is attention holding due to its humor, drama and effective dialogue.
In many playwriting classes the instructors intone, “Write what you know about.” The British Doran knows of what she writes. The play has an underlying homosexual theme. She, in real life, is a lesbian, and she exposes this well in her script, as well as the conflict of when to come out, to whom, and what can be the consequences of that revelation.
It is more than a “gay play,” it is a tale of discovery, facing demons, dealing with the backlash, confronting life and its inhabitants as a newly acknowledge person.
Yes, Ms. Doran, “When you say something aloud it becomes true.”
The play, which is basically anchored in the American South, finds Charlotte and Jonny, who have been friends since they were nine, starting college. She’s white and Jewish, he’s Christian and black.
Are they on a path to having sex, living together, marriage? Is this a love story that will blossom? The start of the play looks like that’s the path. Then, through a series of complications, surprises and a not-so-typical series of experiences and revelations by Charlotte, Jonny, her parents and indirectly, his mother, the play takes twists and turns that lead to an unexpected ending.
The epic play contains references to religion, sexuality, love, sex, and the mystery of ever-evolving relationships, leading to the provocative title.
There is male and female full-frontal nudity, which helps highlight and intensify specific aspects of the author’s intent and purpose.
To reveal more of the exact plot would be a disservice to those who will see it, so let’s leave it with the truth that the script has correctly been called “perfectly wonderful” and “a play with such compassion and wry wisdom I was warmed from within.”
Dobama’s production, under the direction of Shannon Sindelar who previously guided the Dobama productions of The Norwegians, Or and The Realistic Joneses, again displays her ability to key comedy, keep the action moving along, and aiding the audience to a complete theatrical experience.
Jill Davis has designed a minimalistic set with sliding back panels that allows for smooth shifts to the many indoor and outdoor settings. The entire production is overhung with the limbs of a tree that plays a significant visual role in developing the intent of the play. The set changes are smoothly handled by an efficient stage crew.
Marcus Dana’s lighting designs help set the right moods and pinpoint the active stage areas.
Tess Burgler, in her first Dobama appearance, does an excellent job of fully texturing Charlotte, who matures and develops from a conflicted young lady into a confident woman.
Wesley Allen, though he has some excellent moments, is inconsistent in his character development of Jonny. He presents but doesn’t always live the character, sounds like he is expelling words, not creating meanings, and overuses a flat affect.
Scott Miller clearly makes Howard, a father, mystery book writer and frustrated New York Jew, into a man on a roller coaster of emotions.
Heather Anderson Boll, who has strong Yale School of Drama training, and many New York and local appearances, shines as the cigarette/pot smoking, Jewish convert, conflicted Lucinda.
CAPSULE JUDGEMENT: The Mystery of Love and Sex is one of those special scripts that will appeal to the Dobama audience who comes to see contemporary professional scripts which look at society and its strengths and foibles. Bathsheba Doran’s play gets a strong production that should delight and enlighten and deserves strong support. It’s a “go see!”
The Mystery of Love and Sex runs through October 22, 2016 at Dobama Theatre. Call 216-932-3396 or http://www.dobama.org for tickets.
Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)
Bathsheba Doran, author of The Mystery of Love and Sex now on stage at Dobama Theatre, stated of the script, “I had no plans for subject matter. I never do when I begin. As my play stormed out of me, unstoppable and violent, I was horrified. The experience was deeply unpleasant, emotionally. I was the most embarrassing of writers in the café where I worked: tears streamed down my face as I stabbed out the dialogue on my keyboard. I looked up once, just in time to see a nearby guy whisper amusedly to a girl: ‘Whoa, she’s really into it.’”
She continued, “Not only was I going through the torture of the writing. I was going through the torture of writing something I was convinced was unproduceable. I believed this absolutely, that is how thoroughly I had absorbed homophobic wisdom about what is and isn’t acceptable material for a play. I persevered with the script only because it was obvious to me that the emotions in the play needed to be exorcised from my body. When the play was finished, I could trash it, and move on with my life. That is what I told myself until I typed ‘the end.’”
How wrong Doran was. The script is producible, the story compelling and illuminating, the over-all effect, at least on the Dobama stage, is attention holding
due to its humor, drama and effective dialogue.
In many playwriting classes the instructors intone, “Write what you know about.” The British Doran knows of what she writes. The play has an underlying homosexual theme. She, in real life, is a lesbian, and she exposes this well in her script, as well as the conflict of when to come out, to whom, and what can be the consequences of that revelation.
It is more than a “gay play,” it is a tale of discovery, facing demons, dealing with the backlash, confronting life and its inhabitants as a newly acknowledge person.
Yes, Ms. Doran, “When you say something aloud it becomes true.”
The play, which is basically anchored in the American South, finds Charlotte and Jonny, who have been friends since they were nine, starting college. She’s white and Jewish, he’s Christian and black.
Are they on a path to having sex, living together, marriage? Is this a love story that will blossom? The start of the play looks like that’s the path. Then, through a series of complications, surprises and a not-so-typical series of experiences and revelations by Charlotte, Jonny, her parents and indirectly, his mother, the play takes twists and turns that lead to an unexpected ending.
The epic play contains references to religion, sexuality, love, sex, and the mystery of ever-evolving relationships, leading to the provocative title.
There is male and female full-frontal nudity, which helps highlight and intensify specific aspects of the author’s intent and purpose.
To reveal more of the exact plot would be a disservice to those who will see it, so let’s leave it with the truth that the script has correctly been called “perfectly wonderful” and “a play with such compassion and wry wisdom I was warmed from within.”
Dobama’s production, under the direction of Shannon Sindelar who previously guided the Dobama productions of The Norwegians, Or and The Realistic Joneses, again displays her ability to key comedy, keep the action moving along, and aiding the audience to a complete theatrical experience.
Jill Davis has designed a minimalistic set with sliding back panels that allows for smooth shifts to the many indoor and outdoor settings. The entire production is overhung with the limbs of a tree that plays a significant visual role in developing the intent of the play. The set changes are smoothly handled by an efficient stage crew.
Marcus Dana’s lighting designs help set the right moods and pinpoint the active stage areas.
Tess Burgler, in her first Dobama appearance, does an excellent job of fully texturing Charlotte, who matures and develops from a conflicted young lady into a confident woman.
Wesley Allen, though he has some excellent moments, is inconsistent in his character development of Jonny. He presents but doesn’t always live the character, sounds like he is expelling words, not creating meanings, and overuses a flat affect.
Scott Miller clearly makes Howard, a father, mystery book writer and conflicted New York Jew, into a man on a roller coaster of emotions.
Heather Anderson Boll, who has strong Yale School of Drama training, and many New York and local appearances, shines as the cigarette/pot smoking, Jewish convert, conflicted Lucinda.
CAPSULE JUDGEMENT: The Mystery of Love and Sex is one of those special scripts that will appeal to the Dobama audience who comes to see contemporary professional scripts which look at society and its strengths and foibles. Bathsheba Doran’s play gets a strong production that should delight and enlighten and deserves strong support. It’s a “go see!”
The Mystery of Love and Sex runs through October 22, 2016 at Dobama Theatre. Call 216-932-3396 or http://www.dobama.org for tickets.
