ARTS

Why We Have a Body makes strides for women's theater

by Michelle Chang

The prize for the most inspiring and rewarding theater production of the weekend goes to Why We Have a Body, a play both written and directed by Oberlin gradutates. Despite the lack of backing and a budget, Jenna Weiss (OC'96) was compelled to put on this play, written by Claire Chafee (OC'80), and made her vision a remarkable reality with a little ingenuity and a lot of spirit.

The desire to stage this play began with a frustration with a lack of women's roles on this campus. Even plays that seemed to offer women a lot of lines did not necessarily mean that the roles were strong or dynamic ones. "It is important to me that a variety of women's voices be heard," said Weiss.

Giving more attention to female playwrights was also a goal for Weiss. She taught an ExCo on Contemporary Women Playwrights during both the spring and fall semesters of last year. She actually taught Chafee's play in that class. It was the impassioned response to the play from her students that also pushed Weiss to direct it.

In many ways, Chafee's script was ideal for the type of project that Weiss was looking for. It deals with four women, all of whom have gone on unconventional paths, who are all in need of making life choices and changes. The changes are difficult, however, as the characters battle tendencies of repitition compulsion, harboring deep seated fears of breaking out of their cycles and taking a stand for themselves.

Lili, played by college junior Hannah Cabell, is a private investigator who cannot find a fulfilling lesbian relationship because she is too guarded and careful. Her sister Mary, played by college junior Sally McGuire, has been in and out of mental health care and makes her living robbing convenient stores. Their mother Elenor is an ex-suburban housewife turned wily adventurer. And Lili's lover Renee, played by college junior Diana Zumas, is a paleontolgist who needs to face her unhappy, heterosexual marriage.

The characters, although all connected in some fashion, are very much their own entities. This was important to Weiss, who was tired of woman-centered plays that were always about women's relations instead of women as individuals. The play is packed with powerful monologues, giving each character a chance to go on her own exploration and investigation in addition to relating with others.

All four of the women actors in this ensemble cast are amazingly strong They play their characters to the hilt without any excess, running the emotional gamut of rage, frustration, humor and passion. Weiss was quick to emphasize their bravery and boldness. For instance, the idea to stage the love scene with full nudity initially came from Cabell and Zumas, both of whom felt very strongly about the decision.

Weiss herself felt a connection to the struggle of the characters.

Developing the motivation to initiate this production and bring it to life was a challenge. Weiss had been more accustomed to being the production manager, which she describes as "a more facilitating, nurturing role. You're helping the person with the vision instead of being the person with the vision."

But even though Weiss now wears the director's cap with confidence, she is clearly committed to a collaborative work ethic. She feels that the process of letting actors develop their own characters and give feedback into the production is as important as the finished product. "It grows organically from all the members of the group," said Weiss.

Her conception of theater as a mutual effort instead of a hierarchical one is also relfected in the decision to stage the play as theater in the round, where the audience surrounds and envelops the the performing space. It makes for a more intimate environment and really lets the audience almost seep into the lives of the characters. The limited seating also helps contain the space and give it a more personal feel.

In keeping with the trend of unconventional theater spaces this weekend, the venue for this production is in main lounge of Baldwin Cottage. The space was chosen more for its associations than its physical presence. Weiss pointed out that with the exception of the new women's resource center, it is really the only "woman-identified space" on campus.

The set, although makeshift and homespun, obviously had a lot of care put into it. The attention to detail and the multitude of props in each of the character's individual stations does wonders to give each charcter color and definition. Even the subtle sound effects and music choices throughout the show help to continually transform the space to everthing from the desert to an airport bar.

Scenes changes, which might have been awkward in such a cramped space, were seamless and smooth, giving the play a wonderful sense of flow and integration.

The only annoying factor of the production was the lighting. This was more a problem with the space, not the design. Because the show was done as theater in the round, lights had to be placed all around the stage and could not avoid being shined in the faces of audience members. Unfortunately, this sometimes made it difficult to see the expressions on the actors' faces when they were standing directly in line with the brightness of the lights.

But that is a forgiveable flaw in what is an overall moving experience. It is probably safe to say that such an inspired achievement was distinctly the result of this peer driven, collaborative ethic that Weiss is devoted to. That in itself is a story worth telling.

Why We Have a Body goes up in Baldwin Main Lounge tonight and Saturday night at 8 p.m. Admission is free but space is very limited.

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Copyright © 1998, The Oberlin Review.
Volume 126, Number 21, April 17, 1998

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