Paula Vogel's difficult-to-watch, Pulitzerwinning How I Learned to Drive, is the current offering of On Stage Playhouse. The piece is not recommended for the under-17 crowd for good reason; Vogel explores pedophilia in depth.
Lil Bit (Kym Pappas) is growing up in rural Maryland during the '60s. Both her mother (Teri Brown) and grandma (Bonnie Alexander) gave birth at an early age. Her grandpa (Bobby Schiefer) is an ignorant, sexist grump. This constantly bickering extended family does an extremely poor job of raising Lil Bit.
It is up to her loving Uncle Peck (Tony Perez) to provide her with an education. Alas, even his driving instruction, when she is eleven, is of a molesting nature. He continues down the pedophilia path to her 18th birthday. The sad fact is that Uncle Peck is the only person of any significance in Lil Bit's life. Even her contemporaries at school tease her because she matured early, becoming physically a woman in her pre-teens.
It is difficult to describe the power of Vogel's opus. Every word fits an intricate puzzle to perfection, in a delicate balance.
Bruce Wilde and Charles Nichols' set is dominated by a two lane-blacktop that angles up the back wall. Street signs festoon the walls. Scenic artists Rosemary King and Jane Russell provide the interpretation. Even a table is topped by a huge stop sign. A few chairs and other set pieces are strewn about, featured as needed. The effect is striking.
Vogel's script is highly segmented. Director Carla Nell, who has taken a traditional approach to the script (rather than a more abstract one seen earlier this year), announces each segment with both a projection, produced by Teri Brown and Paul Savage, and an off-stage voice. The stark announcement of driving instruction, contrasted by the reality of many of the scenes, is shattering at times.
Nell's cast is excellent. Kym Pappas, as Li'l Bit, not only tells the story but lives it. This accomplished actress often speaks volumes with a look, an aside, as well as expressing Vogel's jarring words. One wants to scream out to her to leave this hell hole, yet we know full well that her uncle also provides a level of humanity no one else gives.
Tony Pérez, as Uncle Peck, is downright scary. One has but to look into his eyes or analyze that bland, but apparent, look of control shown in his mouth to know exactly what Uncle Peck is up to. He portrays the duplicitous relative with canny perfection.
The supporting cast, correctly referred to as a Greek Chorus in the program, is charged with several incidental characters, as well as their primary characters.
Teri Brown returns to the stage as powerful as ever. In one scene, her progression from sober to drunk is awesome. As the backwoods mother, she expresses the tradition of the subculture. As Uncle Peck's wife, she justifies her husband's ways, in part, by denying them.
Bob Schiefer is an excellent character actor. His portrayal of the ignorant Grampa is a delight. His young boy is believable. Is there anything this guy can't do?
Bonnie Alexander is one of the best grandmas I've seen in some time. I swear her face ages drastically, her voice is etched with years. Yet, she can easily play younger women, becoming younger before our eyes. All this out of a young lady still a junior in High School. Wow.
Lighting designer Alisa Zeljesnjak gives the show a clean look, isolating the many scenes nicely. Sound designer Carol Cabrera, who is also the tech operator, provides a good music selection and a flawless, if busy, production from the booth.
How I Learned to Drive once again proves that the drive down just north of the border is worth it. If you haven't seen this powerful play, you are missing a glimpse of a tiny slice of Americana. This production should be on your must-see list. OnStage Playhouse has got a great season going.
