February 2014 , Keene State College will bring a Pulitzer Prize-winning production, “How I Learned To Drive,” to the campus.
Professor of Theatre and Dance [TAD], Peggy Rae Johnson, is the director and said she and the TAD department chose this production because, “It won every single theater award […] and it is a really unique treatment of, unfortunately, a universal subject.”
Johnson said the 1997 play had recently been brought back to Broadway and that one review said the play was no longer current or relevant in society.
The director said that was another reason that made her take a second look.
She explained the relevance of the sexual violence prevention play that is performed during Freshman Orientation, “No Zebras,” as well as the fact that “How I Learned To Drive” is simply a different take on a very old and universal problem that still exists today.
“Manipulation—abusive, sexual manipulation—that does include family members,” is the issue at hand, Johnson said.
Emma Contic / Graphics Editor
With such controversy and particular characters involved in the play, Johnson said this was one of the most difficult casting experiences that she has had in her recent years.
“The demands of the play are so intense,” she said, ”We worked really hard on challenging the actors during the audition process.”
Those who seemed to have overcome the challenges are lead roles Cara Gerardi, KSC sophomore, and TAD staff member Will Howell.
Johnson explained the story of “How I Learned To Drive” is told through the memory of Lil’ Bit, played by Gerardi. Lil’ Bit and her Uncle Peck, played by Howell, are the two who indulge into a deeper kind of relationship.
According to Johnson, the original playwright, Paula Vogel, had the image of Lil’ Bit looking through her rearview mirror and, “seeing the person who molested her as an image that stuck with her,” and that’s how the driving metaphor initiated.
Not only that, Johnson also explained, “Sexual manipulation of a young person is often hidden by good deeds, by saying things to the person to show as if they are going to be helping with something. Like, ‘I’m the one who cares for you,’ as if it’s a favor, like teaching a person how to drive.”
By Uncle Peck teaching Lil’ Bit how to drive, “He gets to spend time with her and gets something more, while Lil’ Bit also gets to feel good about something,” Johnson added.
Gerardi said that she feels the story has a lot more to it than just “sexual and inappropriate.”
“It’s also the real feelings behind it,” she said, “and what drives each of them to act in this manner.”
Both Gerardi and Howell said they foresee one of the most difficult aspects of their roles as remembering not to judge the characters for their actions or behaviors.
“I think we’re going to have to remind ourselves of the sympathy that you can feel for both characters, because it’s not a black and white story at all,” Gerardi said.
“What he [Uncle Peck] is doing is terrible, and the play is not condoning that,” Howell added.
“But I can’t approach it in a judgmental way. I just have to rely on the text and give the audience the chance to draw their own conclusions on what they think of him and his relationship with Lil’ Bit,” he continued.
While auditions were about a week ago, the first read-through the cast endured was not until last Sunday, Dec. 8.
The play is scheduled to be performed February 25, 2014 through March 1.
Though actors have all of winter break to read through scripts and memorize lines, the true characters will not come to form until a week before the rest of the KSC campus returns for the start of spring semester.
According to Johnson, this is a “regular” amount of time for rehearsals and such.
“It’s a lot more easier said than done,” Howell said. “But that’s part of the work.”
Both lead roles, as well as Johnson, agreed that a distinctive part of this production is that the interpretation is fully in the eyes of the beholder.
Howell said, “Part of the uniqueness of the show is that we’re not necessarily approaching it with an agenda, but being true to the script and PR [Peggy Rae Johnson] and the process at the end of the day it’s ultimately up to the audience to choose what they just saw.”
“Response from the audience,” Gerardi began, “getting something, making them think or feel is what I love about theater and I definitely think they will feel something after this show.”
Johnson included that there will be a talk-back between the cast and the audience following at least one of the performances.
When it comes to rehearsals upon the return of the cast after the New Year, “It is often misspelled,” Johnson said.
“People forget the first ‘a’ in rehearsal. It means to re-hear, re-hear, re-hear. A pause can completely alter someone’s perspective.”
With such passion for theater as well as this specific play in the air, Johnson quoted playwright Paula Vogel.
“It is a mistake to demonize the people who hurt us,” and it seems such concepts and interpretations will be up for debate in the coming of “How I Learned To Drive.”
Rebecca Farr can be contacted at rfarr@keene-equinox.com