In the real world, caregivers do not get trophies or medals for their often heroic, physically-exhausting and emotionally-draining work. Nonetheless, caregiving is often part of adult life. It may not be something one looks forward to, but it must be dealt with, all the same.
The need for caregiving can spring from an injury or medical crisis involving one’s spouse. Or it can come from the inevitability of physical decline and death of one’s parents. That’s the case in Melinda Lopez’s pull-no-punches one-woman play, Mala, currently playing at Milwaukee Chamber Theater.
The play is disturbing, brutally honest, and ultimately cathartic. In 75 minutes, it describes what happens when caregivers strive to be good but don’t always succeed.
At the outset, Milwaukee actor Rana Roman breaks the fourth wall and speaks directly to the audience. Among the things she discusses is the origins of the word “mala.” Apparently, it means “bad.” Not in the sense that a person has done something bad, but that one’s core is essentially bad (i.e., evil). The word is often shouted at her by her mother who, only seven months after her husband has passed away, is showing signs of her own mental decline.
Through it all, Roman is determined to maintain her role as “the good cop,” as opposed to her older sister (“the bad cop”). There’s also a third sister, who is almost too tired to care about her mother after dealing with her ailing father for so long.
In a riveting performance, Roman takes on the roles of all three sisters, as well as her parents, various doctors, hospice workers, other relatives and so forth. But most of the time, Roman plays “herself,” the middle daughter and primary caregiver for her parents.
Somehow, while keeping tabs on her parents, Roman also must find time to work and be present for her daughter. Some of the play’s most touching dialogue is when Roman plays both her daughter and herself. With beautifully timed gestures and movements, Roman tries to reassure the young girl while simultaneously attempting to figure out the best course of action for her mother.
As time goes by, Roman needs to hire a helper for a few hours each weekday to take care of her mother’s essential needs. Sometimes, a frantic cell phone call from the helper has Roman rushing home in the middle of the day. From past experience, she knows that pushing the speed limit will turn a 30-minute drive into an 18-minute one.
Often, Roman’s greatest source of anxiety is her own mother. In a reversal of the child-parent relationship, the mother claims she’s unaware of how she ended up on the floor (or she doesn’t know why she can’t stand up from her chair). As Roman decides whether to call an ambulance, the mother literally shouts at her in Spanish (the English translation appears on the set’s back wall). Essentially, the mother doesn’t want to go. In a scene played out more than once, daughter and mother struggle for control of the situation, while an ambulance crew stands by, waiting for direction.
During these highly charged scenes, Roman almost pleads with the audience, saying “I’m not a doctor.” To calm herself afterwards, her character steps to one side of the stage and attempts to meditate.
Artistic Director Brent Hazelton has sensitively directed the playwright’s intensely personal journey. At times, the action seems disjointed, and the audience may momentarily be lost until the play returns to more solid footing. For better or worse, many theatergoers will be able to identify with Roman’s situation. The play may bring up painful memories, or it might be the spark for some reflection, healing, and discussion.
Supporting this production is an ethereal-looking set (by Lisa Schlenker), that swathes the stage in billowy, translucent white curtains, lit beautifully by Colin Gawronski. The set pieces consist of a white-painted trunk and an overstuffed chair, which is sometimes covered by a blanket. Various sound effects are provided by Josh Schmidt.
Mala was a last-minute substitute for a different show that was originally scheduled for this space on Milwaukee Chamber Theater’s calendar. Some Covid-19-related delays caused the production’s opening to be pushed up for a week. With that in mind, it makes the success of Mala all the more impressive.
