Language Takes Center Stage in Person
Love Person is the only play I can remember attending in which the action onstage is carried out through long silences broken only by an occasional audience chuckle. It’s not as if there’s no dialogue. This whole play is about dialogue, but much of it is unvoiced, either in American Sign Language or appearing on an enlarged screen over the stage as the play’s four characters – three women and one man -- attempt to connect by the best means available to them.
Free (short for Frieda) is deaf and lesbian. She uses sign language and lip reading to “talk” to her partner, Maggie, and to her hearing sister, Vic (short for Victoria.) But Free turns out to be pretty good at text messaging, too, which she uses with unexpected skill when communication with Maggie breaks down. Maggie can operate successfully in both the hearing and non-hearing worlds, and Free is a little jealous of that.
Vic, Free’s sister, speaks liberally and fluently, but says little of substance. Vic is infatuated with Ram, a teacher of Sanskrit and its poetry. (A Sanskrit poem illuminates the wall.) Sanskrit, says Ram, is the root of all Indo-European languages; it’s subtle and has many synonyms. Could it also be the root of sign language? This point is argued, but because Ram makes frequent trips back to India, he depends more on his laptop and e-mail to stay connected with English speakers.
This play by Minneapolis playwright Aditi Brennan Kapil is being produced at Marin Theatre Company as part of the National New Play Network’s series of World Premieres. It is, as MTC’s Jasson Minadakis explained, “a very complicated show.” It’s also original and an eye-opener.
When Maggie and Free are having an argument in sign language, every hearing or deaf person in the audience understands the meaning of “Blah, blah, blah.” When an e-mail draft shows up on the screen, everyone understands the writer’s block that’s causing the message to be edited, then deleted. And when a lovely Yeats poem transfers silently from a book’s printed page and brings tears to the reader, we can grasp that too. The play’s examination of language as both connection and barrier is intelligent and challenging.
Love Person needs an intimate performing space, and Director Gia Forakis is presenting it in the 99-seat Lieberman Theatre. Eric E. Sinkkonen’s pared-down set allows quick scene changes and prop storage. Erin Gilley designed the essential videos, Chris Houston prepared the sound and music, and a number of communication professionals assisted with the signing translations.
Cathleen Riddley, an Equity actress and a certified sign language interpreter, plays the warm-hearted and eloquent Maggie. Ms. Riddley gives two beautiful performances, one silent and one spoken. She owns the stage when she’s on it. Mary C. Vreeland as Free makes only one sound, but carries her story with compelling facial expression and hand movements. Janak Ramachandran (Ram) becomes more lovable as the play progresses, entirely convincing in his love of Sanskrit and in his argument that “continuing” is not the same as “leaving.” Emily Morrison plays the trash-talking, self-involved Vic, an unsympathetic character who’s desperate for a happy ending.
With few exceptions, Love Person is a tightly-crafted, strong story with a wimpy title. The title’s meaning is explained in the text, but this dense little drama deserves a better name. There is plenty of inspiration right there on the wall.
Love Person will be at the Marin Theatre Company through May 18. Wednesday performances are at 7:30pm, Thursdays through Saturdays at 8:00pm, Sundays at 5:00.
Ticket prices range from $20 to $35. For reservations, call the box office at 388-5208 or see the website, www.marintheatre.org.