by Macey Levin
Over the past fifteen years WAM (Where Arts and Activism Meet) Theatre has built a reputation of offering women-oriented, challenging productions and readings. Much of their work has received sterling reviews. Their current production Rooted, a new play by Deborah Zoe Laufer, at Shakespeare & Company’s Bernstein Theatre, is ambitious but somewhat problematic. Though it has comic and poignant moments the play itself is somewhat disjointed.
Emory (Marcy McGuigan) has been living in a treehouse and has not left it for many years. It is rampant with a variety of plants on shelves, tables, the floor and her deck. She has developed a loyal following on YouTube as she comments on gardening experiments interspersed with advice. Her sister Hazel (Jenny Jadow) has taken care of Emory by bringing her food and assisting on various projects. However, she has just lost her job as a waitress in a diner where she has worked for forty years which sparks a cataclysmic change in their relationship. Despite their affection and dependence on each other the occasional antagonistic exchange intensifies into something earthshaking.
The set, designed with considerable detail by Nora Marlow Smith, feels comfortably claustrophobic. For Hazel to enter the treehouse Emory has to lift a trap door. There is also a porch that allows characters to look out on a vast farm field below.
Emory’s programs on the internet have led to thousands of favorable messages from all over the world. Hazel, by contrast, is unbelieving and somewhat cynical. At one point they notice swarms of people gathering and imploring Emory to speak directly to them. Being somewhat shy and retiring she is wary about addressing the growing crowd. Hazel describes them as a cult and plans to convince them to donate to Emory.
Days later, Luanne (Mei MacQuarrie,) a young woman who is part of the assemblage, has made her way into the treehouse. She has lost her direction in life and not sure what that way is she has come to Emory for help.
The power of the internet is a component of the story line. Due to Emory’s YouTube programming the growing horde below the treehouse becomes more and more passionate in their conviction that she has been sent to them and they develop a cult like devotion to their perception of her ability to heal. This is enforced by Hazel as she focuses on probable financial gains.
Another one of the thematic elements in the play is the conflict between science and beliefs. Emory sees herself as a horticulturalist and feels that nature is the greatest force in the world. Hazel and Luanne believe only in what they can see, hear or feel. As the women parry about their personal needs and perceptions the dialogue becomes repetitive. Judicious pruning of the script might lead to a more cohesive flow of the story line.
The performances are inconsistent primarily because the actresses seem to be pushing too hard. There is minimal subtlety so that much of the dialogue borders on an overly stressed rant .
At one point some of the plants and outside trees become animated. Twice during the running of the play Emory is alone as music blasts and she dances with bobbing mimosa and other flora. These breaks in the continuity of the story are jarring since they are not in keeping with the overall tone of the storyline.
Direction by Maggie Mancinelli-Cahill is competent but really doesn’t touch the emotions because the play itself is not always coherent.
Though this is not WAM’s best work, the company is one of the most daring in our area.
Rooted by Deborah Zoe Laufer; Director: Maggie Mancinelli-Cahill; Cast: Marcy McGuigan (Emory) Jenny Jadow (Hazel) Mei MacQuarrie (Luanne); Scenic Design: Nora Marlow Smith; Lighting Design: Madeline Herbert; Sound Design; Jane Shaw; Costume Design: Stella Schwartz; Puppet Design: David Lane; Stage Manager: Nathaniel Bokaer; Running time: 90 minutes, no intermission; May1-16, 2006; Shakespeare & Company, Lenox, MA 01240; 413-637-3353; www.wamtheatre.com