Domenia Feraud’s brilliantly constructed, intimate and fascinating Rinse Repeat, is about one woman’s attempt to grapple with a disease pervasive in our culture, but which few discuss and many keep hidden. Feraud’s play at Pershing Square’s Signature Center (The Linney) receives a cogent, eye-opening, much needed rendering in this astounding production expertly directed by by Kate Hopkins and exceptionally acted by an “in the moment,” acute, dynamic ensemble..
From the outset when Rachel (Domenica Feraud’s portrayal is specific, highly tuned and real) enters the home she has left for a season to return to her family, we are gripped by her tentative steps, her unsettled, hesitant manner. Surely, her unease comes out of something which has happened there; her expectation hovers in the air like a darkened cloud, and we pick up her imbalance which leaves us in a hushed suspense.
All this is put to rest, however, when beautiful mother Joan (the superb Florencia Lozano) and warm, loving father Peter (the heartfelt and engaging Michael Hayden) greet her enthusiastically and smother her in smiles and encouraging, welcoming comments about “how wonderful she looks” and how happy they are to see her and have her back. Yet, clues are dropped. Her mom asks if she may hug her: importuning if her daughter is ready to receive her affection? Curious! And her laconic, 18-year-old brother, the haphazardly funny Brody, whose response to his sister is frank and unapologetic, gives her a less than gracious hug that is cold and brief. This unsettles the atmosphere once more. We question: is that just Brody’s character or does it reflect “what happened” before Rachel left?
Jake Ryan Lozano’s portrayal as Brody garners laughs with his callow, humorous, teen-male demeanor, obsessed with his girlfriend and sports. (The portrayal blossoms in their quiet sister/brother time together later in the play when Lozano’s Brody allows his love and sensitivity to unfold with poignance.) Initially, Brody seems uninterested in her presence, but tips us off that her return is something he may fear when he implies he doesn’t want to introduce her to his girlfriend to scare her off and that her physical appearance the last time he saw her “was scary.”
As we watch these interactions, we synthesize the clues and the picture sharpens. Rachel has been in intense therapy that involved she be away from family. Before she left, she was in a wheelchair, too weak to walk. But now she appears physically fit. Therapy has saved her life. Back in the environment that bred her illness, can she maintain the health she has achieved or will she suffer a set back into her addiction?
The playwright gradually unfolds the mystery of what happened before that on the surface upended the loving, “normal” family. The family was never “normal;” nor was it unconditionally loving. Peter and Joan are rife with issues and problems in their relationship and in themselves; blindness, fear and anger have prevented them from confronting themselves honestly and this has spilled onto their relationships with their children.
Feraud has drawn the matrix of illness interrelating it with Rachel, Joan and Peter primarily. Ironically, the complications of Rachel’s addiction are the manifestation of profound issues with each of the family members. Like a festering boil which comes to a head then is burst so the infection is released, Rachel’s addiction has been burst to impact the family on a manifest level. However, for the infection to be eliminated, it must be excised at the root and that means Joan and Peter and even Brody must be excised in therapy with Rachel if she is to live with them in health. They are her addiction as well as being psychically ill themselves. However, only Rachel understands this.
For those who have suffered in similitude with Rachel’s illness, they will identify with her behaviors and immediately “get it.” And indeed, the “tell-tale” signs of how her sickness morphs her back toward unhealthy patterns explodes again and again during the weekend with Peter, Joan and Brody. During her discussion with Brody in a quiet time of night, we appreciate the serenity and honesty between the siblings, an honesty that is lacking in her relationship with her mother and father. Placed back into the family structure that is in effect a sham, Rachel and Brody huddle in their own corner of their lives. Peter’s and Joan’s marriage is crumbling with dishonesty. Brody and Rachel sense it and suffer, and will be happy to leave the festering wounds that work deep underground in the soils of their family’s lives and interrelationships.
The details of Rachel’s eating disorder are superbly portrayed. We note her family’s concern about Rachel’s eating as they sit down to a meal together all on their best behavior, playing the dutiful family members the first night. The turning point comes when Rachel speaks to her mother that evening and looks for a snack. Her mother pressures her about her career and the snack. The dutiful daughter, Rachel agrees with her mother and foregoes the snack, which she is not supposed to do according to the protocol of health set up for her by her therapists. The tiny detail and the seemingly benign interaction between mother and daughter spills controlling maternal poison that psychically infuses Rachel’s emotions and careens her back into her old self-damaging behaviors.
The next day, all unravels and the underpinnings of the problems that contributed to Rachel’s illness emerge. Back in an environment where she is the sacrifice and the target around which everyone places the blame, no one else appears to accept responsibility for their contributions in the matrix of self-destruction twining into Rachel’s addiction. Indeed, unless the others, especially Joan, who herself is eating disordered, reflect on their own psychic maladies and seek help to correct, Rachel is doomed to fail once more if she stays at home.
This is the anatomy of an illness that Feraud incisively chronicles with emotional power and intense, accurate specificity. As each event builds on the ones that have gone before we understand the magnitude and the complexity of why people die from Rachel’s anorexia, and chronic eating disorders. Feraud unravels the tapestry with an incredible precision of detailed acts that show how Rachel slides back into a routine of bulimia, binging/purging, excessive weighing and body dysmorphia, which Joan, unconsciously, neglectfully perpetrates with the controlling pressure on Rachel to do as she suggests regarding a legal career and eating less than she should.
On the other hand, though Peter, having gone to therapy at Renley with Rachel, appears to be sympathetic and concerned, he too drops the ball regarding monitoring her care. Both parents leave her alone to fend for herself, a violation of the protocol which therapists established to make sure she will not relapse. For those “unfamiliar” with eating disorders, Feraud ‘s characterization of the struggling Rachel is one for the ages. And as Rachel weighs the bagels and takes the smallest one, stuffs down the delicious French toast then spits it out, the looming psychology of why one must watch one’s weight and not “get fat,” reveals the self-fulfilling monster that is devouring the anorexic like Rachel from inside out.
Sadly, as Feraud points out in her “Note from the playwright,” Rachel is not alone. Thirty million people suffer from an eating disorder; truth be told, the numbers are most probably much larger considering the cultural obsession of the fashion, advertising, plastic surgery and billion dollar weight loss industries which ply their guilt on women to be thin and look sleek, young and beautiful at every age.
The play is filled with the signs of nefarious eating oddities that plague not only women of all ages but men as well. Perhaps the scene that most resonates, is one enacted incredibly by Florencia Lozano’s Joan. Having been too busy to eat, Joan, who deprives herself of food to maintain her lovely body comes home ravaged with uncontrollable hunger. We watch stunned as standing by the counter, too impatient to set a place for herself at the table while she cooks a meal (Peter does the cooking; she avoids it) she crams her face with anything low calorie to stave off her “insane” cravings. The hunger she expresses is a theme and metaphor, not only of her inability to be the beautiful person she intends to be, but of her starvation of self-love borne out by her obsessive need to “be the best, prettiest, slimmest, smartest, sharpest,” all the while believing inside that she is a miserable, loathsome worm.
This and the other scenes related to eating are so authentic their reality shocks us. Indeed, the truths in this production create vital theater exacted with brilliance by the director and actors. This is a production that must be seen for its themes of how parents “lovingly” encourage their children into self-loathing translating their own self-loathing onto them, to the cultural starvation through appearance fascism that commands that all conform to one physical appearance type and self-righteously condemn anyone who does not measure up. These themes and others and the characterizations and interrelationships Feraud has painstakingly drawn to perfection.
Another of the beauties of her well-crafted writing is that the themes evolve with revelation upon revelation. stacked upon each other. Then, at the end Rachel reaches a crescendo of rage that she releases in truths about her mother and father with such wisdom, it is breathtaking. All makes perfect sense; the family masks are off and Rachel returns to therapy leaving her parents standing naked in their own psychic self-loathing.
Kudos to Brittany Vasta whose functional, evocative scenic design conveys the household of perfection where imperfect individuals strive, lose, hurt and avoid each other with lies. Likewise, Nicole Slaven’s costume design, Oona Curley’s Lighting design and Ien Denio’s sound design/original compositions help to create such a memorable, indelible portrait of a family in crisis and one who is on the road to health, in spite of it.
Rinse, Repeat (precisely symbolic title for the chronic circularity of illness) has been extended until 24 of August and should be extended again, it is that superb. The play runs with no intermission at Pershing Square Signature Center. For tickets and times go to their website by CLICKING HERE.
On Friday 16 March The League of Professional Theatre Women held their awards for outstanding accomplishments of women in the theater. With the #metoo movement in full swing and the entertainment industry highlighting the paltry showing of sterling women who have yet to be represented in parity and equity with men, the LPTW shines a special light on the tremendous capabilities of women in the industry. They have been doing this for years beginning with their pioneering efforts championing women in the theatre since their inception in 1984.
The importance of this organization at this time is not to be underestimated. The pernicious nature of male chauvinism, paternalism and the preeminence of patriarchy is deeply entrenched in the folkways of our culture and has risen its ugly head politically, indicating that only lip service had been given to women’s inclusion in the power game. Indeed, men have been dragged along with the arc of progress and justice continues to be flogged by men in power under cover of darkness. Meanwhile, all is smiles and compliments by men for women when the spotlight is on.
Well, women are bending the arc of progress toward their inclusion. It is enough that they are more than half the population, yet have been relegated to the back of the line when the golden rings of power are bestowed by other men. Indeed it is enough!
For years LPTW members identified the under-representation of women in positions of power and importance in the entertainment/theatre industry. And this ironically was not because women demonstrated a lack of creative talent, leadership abilities or phenomenal skill sets. It was because of surreptitious discrimination and a network of mores supported by men AND women wittingly and unwittingly. The concept that “boys will be boys” and women were less than “all that” reigned supreme in the competition for employment. Outstanding women had to push diligently, subtly and prodigiously to get a “place at the table” where men ultimately dominated. Women compromised their behaviors, attitudes, intelligence and creativity to meld into a preeminent male world of directors, playwrights, and design directors and assistants. Because of these pioneers, progress has been moving forward. But we have a long way to go before reaching parity and equity. Thankfully, “the whole world is watching.”
Thus, The League of Professional Theatre Women cannot be praised or recognized enough because they have been at the forefront of supporting women in the theatre world in the US and globally before there was creditable appreciation for womens’ indelible contributions. Over the years their numbers have grown. Their mission has thrived and gained critical mass especially in the current noxious political atmosphere. Now, more than ever their work, their efforts are a beacon to the international theatre community and entertainment industry because their values indicate there are no inconsequential roles, no “little” players. All are integral and vital if live theatre which makes a difference in the minds and hearts of citizens is to continue in its goal to uplift, instruct, unify and promote understanding between and among global communities.
The theatre community receives strength in its diversity of gender, ethnicity, religious beliefs and international participation. As a maverick organization their force and presence are unmistakable. It should be shouted from the rooftops. Thus, it is with gratitude to this organization for what they have accomplished in solidarity over the years that I enumerate the women and the awards the LPTW bestowed last Friday at The TimesCenter.
Florencia Lozano, Host
Florencia Lozano (@ilovelorca) actor, writer and performance artist with a multitude of TV, theatre and film credits is one of the original members of the LAByrinth Theater company and currently serves as LAB’s literary manager. Host of the LPTW Theatre Awards, Florencia Lozano introduced the presenters who then bestowed the awards.
The Lee Reynolds Award, Co-presented by Marshall Jones III & Wayne Maugans to Rohina Malik
The Lee Reynolds Award is given annually to a woman or women active in any aspect of theatre whose work has helped to illuminate the possibilities for social, cultural or political change. Producing Artistic Director of the Crossroads Theatre Company and theatre professor at Rutgers University Marshall Jones III (#MarshallKJonesIII) and Wayne Maugans (@WayneMaugans) the Founding Artistic Director of Voyage Theater Company presented the Lee Reynolds Award to Rohina Malik (@rohina_malik). Her plays have been produced all over the country at various venues, and globally at two South African Theater festivals. She worked with Marshall Jones III and Wayne Maugans with their companies and has formed vital ongoing connections with them continually spurring on new works.
The Ruth Morely Design Award, Presented to Cricket S. Meyers by Shelley Butler
The Ruth Morley Design Award, established in 1998 to honor leading film and theatre costume designer Ruth Morley, is given to an outstanding female theatre designer of costumes, scenery, lighting, sound or special effects. This year’s winner presented by director Shelley Butler (#ShelleyButler) was given to Cricket S. Myers (@sound_myers) for her award winning efforts in Sound Design.
The LPTW Special Award, Presented by Roma Torre to Linda Winer
A LPTW Special Award, presented to a remarkable theatre woman for her service to the League and to her field was given to award winning Linda Winer (#LindaWiner) by NY 1 theater critic, the award winning Roma Torre (@NY1 #RomaTorreNYC). Linda Winer was Chief Theatre Critic for Newsday from 1987-2017 and she has taught critical writing at Columbia University’s School of the Arts since 1992. Both women quipped about the idea that a theater critic might receive an award when in the past, “critics” were looked upon with skepticism and sometimes fear. Certainly, both of these women have provided a wealth of information about productions and have placed them in the historical record revealing the development of theater in this nation.
The Josephine Abady Award, Presented by Karen Kandel to Emily Joy Weiner
The Josephine Abady Award honors the memory of LPTW member Josephine Abady. The award goes to an emerging director, producer or creative director of a work of cultural diversity who has worked in the profession for at least five years. Emily Joy Weiner, Co-Founder and Artistic Director of Houses on the Moon Theater Company received the award presented by award winning Karen Kandel, Co-Artistic Director of NYC based theatre company, Mabou Mines. The Houses on the Moon Theater Company was founded in 2001 with the mission of telling untold stories in the interest of social justice. Emily Joy Weiner has been creating developing, performing, producing and directing new works with the Houses on the Moon Theater Company that address the sensitive issues of our time with community organizations and the talented company of artists.
The LPTW Lucille Lortel Award, Presented by Celia Keenan-Bolger to Adrienne Campbell-Holt
The LPTW Lucille Lortel Award is an award from the Lucille Lortel estate endowment to fund an award and grant. The award is given to “an aspiring woman in any discipline of theatre who exemplifies great creative promise and deserves recognition and encouragement.” This year’s award was presented to director Adrienne Campbell-Holt (@adriennecolt, @Colt_Coeur) by award winning actor Celia Keenan-Bolger (@celiakb). The grant was awarded to Ms. Campbell-Holt’s company, Colt Coeur. Adrienne Campbell-Holt inspired the women in the room with her remarks and encouragement to women playwrights to tell women’s stories. Women, above all are storytellers and she suggested that we must continue to push each other and the culture forward into a new day of acceptance and unity.
The Lifetime Achievement Award, Presented by Jocelyn Bioh to Phylicia Rashad
The Lifetime Achievement Award presented to Phylicia Rashad (#PhyliciaRashad) needs no explanation and the honoree needs no introduction. The award was presented by Jocelyn Bioh (a Ghanaian-American writer/performer from NYC). Jocelyn Bioh (@Jjbioh) has carved a path for herself as an actor on Broadway and Off Broadway. She has appeared in film and TV. Jocelyn Bioh is also a playwright and is working as a staff writer on Spike Lee’s She’s Gotta Have it.
Phylicia Rashad has appeared in all entertainment venues, TV, Broadway and film. She has made lasting contributions throughout her career with her prodigious body of work. An example of this includes performances on Broadway in August Osage County, Cat on a Hot Tin Roof, Cymbeline (Lincoln Center Theater), August Wilson’s Gem of the Ocean for which she received a Tony Award nomination, A Raisin in the Sun (Tony and Drama Desk Awards), Into the Woods, Dreamgirls, The Wiz.
Off-Broadway she has appeared in A Midsummer Night’s Dream, Sunday in the Park with George, Head of Passes for which she won a Lucille Lortel Award, The Story, Helen, Everybody’s Ruby, Blue, The House of Bernarda Alba to name a few. She has performed in Regional Theater and has also directed Ma Rainey’s Black Bottom and Joe Turner’s Come and Gone at the Mark Taper Forum to mention two directorial achievements. She has directed many other productions at numerous venues for example, the Goodman Theatre, the Long Wharf Theatre, the McCarter Theatre, Ebony Repertory Theatre, Kirk Douglas Theatre, Westport Country Playhouse, Seattle Repertory Theatre. And she directed Four Little Girls at the Kennedy Center. She is simply sensational, and as Jocelyn Bioh affirmed, she is “regal,” she is “legendary.”
At the end of the evening a champagne toast heralded to celebrate the award winners and their presenters. Until another year! We’re looking forward to our members’ and exploits in 2018-2019. If you are currently a woman working in the theater globally as an actor, playwright, director, designer, consider viewing the LPTW website to check out their online community. This organization will help you network, meet individuals to spur on your career. Above all it encourages inclusion of women before we even were aware to ask for an “inclusion rider” in our contracts in the entertainment and theater industry. JUST DO IT!!! CLICK HERE FOR THE WEBSITE. Tweet @LPTWomen.