| rev:text
| - The Bricks never fail to leave their audience examining and reconsidering the events in their productions long after leaving the theater. So it was this weekend when we saw their production of "Blackbird" by David Harrower.
With one act, one set, and two players throughout most of the play, Blackbird begins as a young woman comes to a late middle-aged man's workplace to confront him about their past relationship. We immediately see his discomfort and resistance, and through halting and intense dialog eventually find the nature of the beginning of their relationship, she at a per-pubescent 12 years and he a 40 year old neighbor. When she asks, "Did you abuse me?" the word "abuse" is nearly stifled as though it were someone else's descriptive, not hers. This is how the play unfolds with accusations met with explanations trying to disentangle what their lives were then and have become now.
The set complements the messages, with the company's rules and policy tacked to a bulletin board, lockers to hold personal belongings, and garbage and used empty containers all around. It makes for a great metaphor for society's laws and taboos, the places where you hide away our personal "belongings," and the garbage and used, empty containers we produce and become. The garbage is everywhere and is slung both literally and metaphorically during the production.
As Ray, Mark Snowden leaves us suspending our judgement, holding our breath, horrified at times, and wishing to be sympathetic at times. Ultimately, as new missing pieces are revealed, we are left not trusting whether there has been any real change in him.
Una, played by Jocelyn Fitz-Gibbon, dusts every corner of the subject. What happens if a young person discovering their sexuality is not surrounded by responsible, emotionally mature adults? A child perceiving abuse as love and adventure, the revelation and perspective gained with age, and the questions and wonder about the nature of that relationship come out in painful, uncomfortable scenes. Una amazes and confounds us fluctuating between a spurned and jealous ex-lover and an abused and cautious past victim. Harrower illustrates the psychological damage of abuse in developmental stages of life, and the challenges to the victim's relationships with family, friends, and lovers.
I cannot reveal the role of the other player in the show, spoilers. But all three gave breathtaking and breath-holding performances.
The scene can and has happened everywhere, quietly or publicly, making the "anywhere" location of the show appropriate as we examine why these codes and taboos are in place and what happens in our lives and futures when they are broken.
Thank you, Bricks, for another searching and thoughtful experience in theatre.
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