PREVIEW: Herculine and Lola at USC's Center for Performance Experiment -- By Alivia L Seely

   

Playwright Dipika Guha

“People often think that identifying as transgender or words like 'intersex' are all new things, but the inclusion of Herculine’s story from the 1800s gives a different perspective. Struggles with gender identity and sexuality are not new--it’s just been excluded from the mainstream conversation,” -- Rachel Kuhnle, Lola in Herculine and Lola

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A jump through time and a change in culture, and yet, the same problem is still seen. Will comfort be felt or sexuality understood as playwright Dipika Guha’s script is brought to the stage?

Herculine and Lola is a play that showcases the struggles of gender identity and follows two women in their search to find peace with their bodies. Herculine Barbin is a women from the past. A schoolteacher in 19th century France, Herculine writes a diary conveying her troubles as an intersex person. While leaping forward to present day, Lola is an American teenager who travels overseas with her parents, when they break some complicated news to her about her body.

“Lola looks and acts like a female and in fact believes she is a female until her parents inform her that it’s not so simple,” says Carin Bendas, a second-year MFA acting student at the University of South Carolina and playing the role of Lola.

Guha’s writing paints a picture of what it feels like to be someone struggling with gender identity. “This play has been enormously challenging to wrangle because of its structure and size. I wanted to create a three-part structure for the stage where we would depart and ‘be’ somewhere entirely different in the second part,” says Guha.

Herculine may be a piece of the past, but her problems are still prevalent in today’s contemporary culture, as audiences will see through Lola’s character. Rachel Kuhnle, also a second-year MFA acting student at USC and playing the role of Herculine, mentions never working in any production that takes sexuality and explores it so much. “People often think that identifying as transgender or words like 'intersex' are all new things, but the inclusion of Herculine’s story from the 1800s gives a different perspective. Struggles with gender identity and sexuality are not new--it’s just been excluded from the mainstream conversation,” says Kuhnle.

Most people have come across an intersex person before; we just wouldn’t normally notice it, Bendas mentions. As it seems, today’s culture is more understanding when it comes to an intersex or transgender person. Knowing that people had to deal with gender identity issues at a time when the culture was not as accepting really puts an emphasis on how evolved our culture has become-though obviously not far enough. Despite period differences, Herculine and Lola bond together through their imagination and love.“Our life experiences play a huge part in the characters we create, especially in a play where the characters' journeys are so personal,” says Kuhnle.

Audience members have to keep their imaginations going and remember the unique culture each character belongs to. With such dramatic time period shifts, showing scene changes can be a challenge, even for set designer and director Steven Pearson.“It’s a very cinematic play and to do that with a simple element, to bring to life what is written on the page, is always a challenge, especially to go from one environment to another and from one time to another. We are using more general furniture and props to have the audience’s imaginations anchor on them. But the most important part is the actors in it,” says Pearson.

This will be the first production of the play, and Guha is delighted to have Pearson behind her. “He understands what this play is after down to its marrow and has worked tirelessly to realize the story in a kind of bare theatrical landscape I had imagined when I wrote it,” says Guha. “He has given me the greatest gift that a playwright could ask for, which is the absolute commitment to staging the play as is written.”

The play will run from November 15-21 at the Center for Performance Experiment on 718 Devine St. Tickets are $5 and are available only at the door. Show times are 8 p.m. every night, and on Friday, November 20, two shows will run at 7 p.m. and 10 p.m.

"Our Town" at Longstreet Theatre - a review by Jillian Owens

ourtown1

The University of South Carolina’s second production of the 2014-15 academic year isn’t the most adventurous of choices, but it is a popular one. Often-produced, Thornton Wilder’s Our Town (directed by Steven Pearson in USC's Longstreet Theatre) tells the simple story of a simple town full of simple people,  but also tackles themes as heavy as why no one seems to appreciate life while they’re living it, and the meaning of eternity.

One of the reasons this play is so -- in my opinion -- over-performed is that it’s easy to produce. The script dictates that no props or sets be used. The actors must instead mime all action. Ladders become the second floors of houses where characters exchange secrets, and there are a few tables and chairs. That’s it. No real budget is required. Another reason this play is often-produced is that it’s extremely popular. It won the Pulitzer Prize for Drama in 1938, and its 1989 Broadway revival garnered a Tony and a Drama Desk Award for Best Revival.

 Matthew Cavender and Nicole Dietze - photo by Jason Ayer,

Our Town is divided into three acts: Daily Life, Love and Marriage, and Death and Dying.  The play opens in the tiny town of Grover’s Corners, New Hampshire in 1901. An equally omniscient and nostalgic Stage Manager (Carin Bendas) introduces us to several of the townsfolk and explains the town’s not-very-exciting history. We see the Gibbs and Webb families sending their children off to school. It’s all a bit tedious, and it’s meant to be. We meet the two teenagers, George Gibbs (Matthew Cavender) and Emily Webb (Nicole Dietze.) Much like the town of Grover’s Corners, there’s nothing really remarkable about either of them. We begin to see them fall in love. We see them marry. Nothing remarkable.

The third act poses an intriguing question: If you were dead and could go back to any day in your life, what would it be, and how would your perspective change? If youth is wasted on the young, is life wasted on the living? Do any of us really appreciate life while we’re in the moments that stack upon other moments until it’s all over? According to the Stage Manager, "No. Saints and poets maybe...they do some.”

photo by Jason Ayer

Most of it is frightfully simple and boring, as are most of our lives. And that’s kind of the point. If Our Town wasn’t written in this simplistic style and with so few things that actually happen, we wouldn’t be as able to empathize with the characters as we are. We can see ourselves in them...not in those exciting, electric moments that we wait for, but in the spaces in between when we’re cooking dinner, running errands, or just chatting with a friend. This is who we are.

This production of Our Town features a new crop of MFA students, as well as a few undergrads. Dietze and Cavender are naively pleasant enough as Emily and George. I enjoyed the easy and comfortable dynamic between Dr. and Mrs. Gibbs (Josh Jeffers and Candace Thomas), which was perhaps the most subtly touching and believable relationship in this production. The Stage Manager is usually cast as a male, but features a female actor, Carin Bendas, in this production. It’s a difficult role, as it isn’t really so much a character as it is a time-warping deliverer of exposition. Bendas comes off as off-puttingly smug at times, but still delivers some of the best lines of the show with empathy and compassion. All of the actors do an impressive job at miming props, and manage to deliver decent New Hampshire accents.

Carin Bendas - photo by JAsopn Ayer

I was impressed by how visually interesting the “not really a set” set was. Neda Spalajkovic adhered to Wilder’s desires as much as she could, while still giving the audience something interesting to look at that establishes location and time changes. And even if you don’t care very much for this sort of show, you’ll be impressed with how she has worked with lighting designer Ashley Pittman to create a visually stunning final tableau.

photo by Jason Ayer

The plot is slow. The language is plain. But then you get lines like this that jump out at you and stir something inside of you:

“We all know that something is eternal. And it ain’t houses and it ain’t names, and it ain’t earth, and it ain’t even the stars . . . everybody knows in their bones that something is eternal, and that something has to do with human beings. All the greatest people ever lived have been telling us that for five thousand years and yet you’d be surprised how people are always losing hold of it. There’s something way down deep that’s eternal about every human being.”

And this is why Our Town remains an American theatre classic.

~ Jillian Owens

Show times for Our Town are 8pm Wednesdays through Saturdays, with additional 3pm matinees on Sunday, November 16 and Saturday, November 22.  Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public.  Tickets can be purchased by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30pm-5:30pm, beginning Friday, November 7.  Longstreet Theatre is located at 1300 Greene St.