Theater News

All Over the Map

Barriers in San Francisco, Patriot Acts in Florida, and The Commedia Cinderella in Charlotte

Tyler Pierce and Meera Simhanin Barriers
(Photo © Cindy Fulchino)
Tyler Pierce and Meera Simhan
in Barriers
(Photo © Cindy Fulchino)

The events of September 11, 2001 and their aftermath have inspired numerous plays and theater pieces around the country, but it’s still rare to see one that addresses the experiences of South Asian Muslim families who lost loved ones in the attacks. This is the point of view taken by Barriers, now receiving its West Coast premiere in San Francisco.

“I felt the need to have a voice,” says playwright Rehana Mirza. “At the time [of the terrorist attacks], my sister and I were living on West Fourth Street and Sixth Avenue. My office was closed down and I really had nothing else to do but watch the news. I was also getting all these e-mails from community listserves and the two weren’t corresponding. Then, one night, my sister and I came home and on our doorstep was a picture of a South Asian woman. It was a flyer that said ‘Missing’ on it, and cigarette holes were burned in her eyes and mouth.”

This incident spurred Mirza to begin writing her play, which focuses on how a South Asian American family deals with the impact of the disaster as well as the suspicion and racism that arose post-9/11. Barriers had its New York premiere last September, coinciding with the first anniversary of the attacks; the new production, directed by Ravi Kapoor and co-presented by the Asian American Theater Company and Desipina Productions, coincides with the second anniversary.

“It’s important to me that we are working on the play again around this time,” says Mirza. “It helps to deal with our extra emotion and energy.”

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Pamela Roza, Daniel Steinlauf, and Bill Schwartzin Words of Mass Deception
Pamela Roza, Daniel Steinlauf, and Bill Schwartz
in Words of Mass Deception

Susan Sarandon was disinvited to speak at a United Way function in Tampa last spring as a result of her anti-war views. “She might not have even spoken about the war,” says Andy Rogow, artistic director of Florida’s Hollywood Playhouse. “The mere fact that she’s anti-war and had been public about that was enough for people to say, ‘We’re not going to give to the charity if she comes to speak.'” Rogow commissioned local playwright Roger Martin to write a short play based on the incident, and the resulting work is titled Words of Mass Deception. Directed by Marjorie O’Neill Butler, it’s now being presented as half of a double-bill under the umbrella title Patriot Acts.

Martin’s work shares the stage with The Value of Names, Jeffrey Sweet’s play about blacklisting, which is being directed by Rogow. “I loved the fact that it’s very balanced in its viewpoint,” says Rogow of Sweet’s play. “We often see someone who was named in those trials as a victim but, in this play, we see how one of those people has also victimized himself and refuses to let go of the past. The character who was his best friend names him and then goes on to have a successful career; although that character explains why he’s not willing to publicly apologize, he doesn’t realize the human cost of what he did.”

Patriot Acts marks a departure for the Hollywood Playhouse, one that signals further changes. “We have done mostly comedies and musicals,” says Rogow. “I am actually in the process of redefining what we do. The shows have to go for the emotions more and make people think.”

Rogow has planned several post-performance discussions during the show’s run. “I wanted to approach people who had experience with blacklisting,” he says. “Each person, like Howard Simon from the ACLU, says ‘Here’s how it’s going on today.’ So the audience doesn’t leave thinking, ‘Oh, that happens to other people.’ It can happen to you.”

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Claire Whitworth-Helm and Steven Iveyin The Commedia Cinderella
(Photo © Donna Bise)
Claire Whitworth-Helm and Steven Ivey
in The Commedia Cinderella
(Photo © Donna Bise)

Over the centuries, the fairy tale of Cinderella has captured the imaginations of both audience members and storytellers. “It’s amazing to me that when you put a name like ‘Cinderella’ in your season, people will buy it without knowing anything about the actual production,” says Alan Poindexter, artistic director of the Children’s Theatre of Charlotte. “The name itself sells.”

CTC is presenting a commedia dell’arte version of the story titled, appropriately enough, The Commedia Cinderella. The production is directed by Jill Bloede and features the Tarradiddle Players, described by Poindexter as the touring component of the Children’s Theater. The classic tale is retold using slapstick, humor, and fun in the Italian commedia tradition.

“Our mission is to serve children 3 to 18,” says Poindexter. “It’s often hard to find a balance because we’re trying to appeal to diverse age ranges. The Commedia Cinderella is for ages 5 and up but it’s one of those shows that has value for adults, too. They’ll laugh right along with the kids.”

Other productions in the CTC season include a version of Oedipus for high school audiences and the popular Christmas musical Scrooge! But Poindexter is most excited about the company’s upcoming presentation of Bridge to Terabithia, based on the 1978 Newbery Award-winning children’s tale by Katherine Paterson. “We’re partnering with our library on this new facility we’re building,” he notes, “and they have a festival where they bring in authors from all over the country. Katherine Paterson will actually be here to give a lecture and talk-back after the opening night performance. I can’t wait to meet her. I’ll become like a little kid: ‘Will you sign my book?'”