(Posted November 11,
2006)
NASHVILLE,
Tenn. – I could end my review of Actors Bridge Ensemble's
HOW I LEARNED TO DRIVE with two
words.
Thank you.
But I'm going to go further because two
words can't fully relate the wonder and joy of watching ABE's
production. This is why I go to theater. This is why I have hope for
Nashville theater in the future.
Paula Vogel's beautiful writing about a
woman whose family history is, to understate it, dysfunctional is
certainly a great foundation from which to build. A story that
centers on child sexual abuse, but nevertheless ends with hope and
forgiveness, is a tough feat to pull off. But the extraordinary
playwright who gave us THE BALTIMORE WALTZ and other
emotionally fulfilling, thought-provoking contemporary tales has
crafted a very humane, believable, funny and
heart-rending piece about the terrible pain that can be
inflicted in the search for love.
It would be easy to make Uncle Peck, the
adult predator in this story, nothing more than a monster despite
Vogel's intricately woven composition. That Matthew Carlton actually
makes him worthy of sympathy is a tribute to his gifted acting and
years of experience. He's been a consistently fine actor over those
years, and his ability to show us the anguish and the goodness in a
man who manipulates his young niece so terribly is another reminder
we're lucky to have him here.
His niece, and the show's leading character
and narrator, is Li'l Bit, played by Vali Forrister. Forrister plays
her character from 11 through 35, channeling the conflicting
emotions and changing perspective of Li'l Bit so openly and
vulnerably throughout we feel we're watching Forrister actually
relive her life instead of seeing a fine professional actor
interpret Vogel's text. She's so connected that we connect,
recalling our own painful family memories and childhood traumas in a
cathartic way that makes this so much more than good entertainment.
Forrister gives a lesson on the acting craft without revealing that
craft, drawing us into her heart and allowing us to take the
harrowing but life-affirming journey with her
character.
There's excellent support from Tom Mason,
Rebekah Durham and Jennifer Lewis. It's become a staple of the ABE
experience that its cadre of actors is ready to give no less
for smaller roles than for bigger ones. Ensemble is a word thrown
around too often by theater people and critics, but it applies
completely to the players in this troupe.
Director Bill Feehely has taken this play
and turned it into a mesmerizing dance of rich emotions. He's let
the humor shine next to the drama too, showing the kind of deft
touch that comes from years of exploring humanity through
stagecraft. Don Griffiths' car-part set, and Aaron Braun's
mood-shifting lighting design, work with music from the 1950's and
1960's to create the atmosphere of an American Dream turned
nightmare and back again.
For 10 years Actors Bridge Ensemble has been
the voice crying in the Nashville theater
wilderness. Its works demand attention and propel artistic
progress. So for the splendor of their HOW I LEARNED TO
DRIVE, for a decade of never looking back or settling for less,
and for a future bright with artistic promise, I say again, thank
you.
To See
The Show…
HOW I LEARNED TO DRIVE
ended its run on Nov. 12. For more information, visit www.actorsbridge.org.
