Neglect- by Sharyn Rothstein
- Directed by Jessie R. Gallogly
- Produced by Journeymen Theater
- Reviewed by Debbie Minter Jackson
Neglect– the very title sounds dreary and dire, the premise even more so — a drama set in Chicago during the 1995 heat wave that resulted in 700 deaths, particularly hard hitting the home-bound elderly. Potential for the dismal is abundant. Instead, Sharyn Rothstein’s two-character play turns a spotlight on one particular elderly woman, Rose, with all her foibles intact, for a realistic and often humorous portrayal of the life conditions that could result in such widespread tragedy.
Both Cynthia Costa Rollins and James J. Johnson are up to the particularly tough challenges of a two-person show. Like a pas de deu when dancers must trust each other with split second accuracy– there’s even a pseudo “lift” in keeping with the dance analogy-they connect throughout the piece with great timing, skillful non-verbals, and genuine affection.
Rollins gives hard-edged Rose a sweet touch. Convincing from her first entrance struggling to walk with her cane, Rollins establishes her character’s quiet and isolated world in front of the television. Johnson enters, also convincingly as the helpful neighbor Joseph, “a righteous name” intent on getting into the apartment by delivering letters from her overflowing mail box. Supposedly seeking relief from the oppressive heat having spotted her air conditioner in the window, he has also noticed her social security check in the bundle.
As the dialog develops, their interactions build trust moment by moment, not unlike the brick by brick of their stifling tenement, nicely captured in the set design by Robbie Hayes. Terrified of the violence which threatens forebodingly in the outside world, Rose hasn’t ventured out in years and has all her services delivered, from food to beauty salon treatments. In her conversations with Joseph, we get a glimpse of the family dynamics that helped to shape both into the people that they are and also reflects how they got to their particular stages in their lives.
Rose’s relationships with her children are particularly touching, and the playwright allows the revelations to build slowly yet surely. She refers to her daughter Debra with nasty distain, although Debra is apparently the caretaker who looks out for her, brings her staples, cashes her check. Rose dotes on the picture and memories of her son who barely calls her from California. Similarly, Johnson portrays Joseph’s growing discontent with lurking intensity – from seeking refuge from the heat, to listening politely as budding confidant, to gradually becoming more sinister with hints of being predatory.
Director Jessie Gallogly has fine-tuned the moments, particularly the twisting turning points with an expert touch. She takes the time to build the premise, fully establish the characters, gives them space to inhabit their interior dialogs, quests and motivations. Then, when they turn, dig deeper and reveal more about who they really are, the impact hits hard. Having worked with some of the best, Kit Marlowe at Rorschach Theater, Crave at Signature, and assistant to Moises Kaufman for 33 Variations, she obviously knows her way around character motivation and development, and it shows.
Since Journeymen Theater’s first production four summers ago, the company has grown in stature, is now in residence at Church Street, and even has a theme for its 2008-2009 season, “…stories of mistaken, assumed and fraudulent identities and the confusion, corruption and controversy that comes with each.” The company has come a long way in accomplishing its mission, “to create art that addresses social and moral issues…” and promises more good things to come.
- Running Time: 1:10 with no intermission
- When: Thru June 21. Wed and Thursday at 7:30pm; Friday at 8; Saturday at 2pm & 8 pm. No Sunday performance
- Where: Church Street Theater, 1742 Church Street, N.W. Washington, DC
- Tickets: $21 (Wednesdays are P.W.Y.C)
Call: 202.669.7229 or consult the website.
Every now and again we need short plays like this to remind us that this kind of desperation and isolation surrounds us all over, and not just in inner cities. While companies are out touting shows as “provocative and edgy” I think they tend to forget about the “Rose’s” and “Joseph’s” most especially the “Rose” character representing the elderly, and about what isolation does to humanity regardless of age or socio-economic standing. Productions like “Neglect” are in your face without blazing drama telling you, “Hey, this is for real, and it could be you someday, or someone you know.” Some think the government can and should fix things, but the majority of the responsibility is on us in terms of how we relate and interact with our neighbors. That’s what community is about.
Interestingly enough on the day I saw this show, which was Saturday, and blistering hot, the box office lady came up front and announced the air conditioner had to be turned off during the performance because “cue calls” couldn’t be heard. I think I got that right, but whatever the problem she handled it well. So within twenty minute we were fanning ourselves as the remaining cool air slipped away to the lowest point of the building. But it was like we (the audience) were neighbors of Rose and Joseph sweating it out in that apartment building right on along with them. I liked the show, but I’m not going to lie: I was glad to get out of that hot box after an hour!
Lighting never ceases to amaze me in the message it is capable of conveying. Towards the end as “Rose” sits alone the light surrounding her becomes dimmer and dimmer until there remains a bright spot of light on her frightened face, and then fades out, and you can still hear her whimpering. Her world has become narrower driven further by her encounter with “Joseph.”
Sound was wonderful from the music, some of it by Lady Day, and the channel surfing “Rose” was doing.