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| Aidem, Litchfield Photo: Kent Meister |
Tanner (the vivid and canny Litchfield), a nonbinary person who uses "they/their" pronouns, is a fund-raiser with the ACLU (where playwright Freeman worked for years) and they have come to the home of Greta (the compelling and wry Aidem), a long-time generous donor.
Greta wants to be heard, seriously heard. She feels abandoned by the ACLU on a personal and political level. She argues that the ACLU is suffering from mission creep by expanding the issues the organization addresses. In addition, as a liberal, second-generation feminist in a world of changing beliefs, customs, language, and even gender, she feels marginalized. She used to be the cool one.
Tanner has to treat Greta with kid gloves, but they also want to be honest and not to disrespect their own being and beliefs. It's a tightrope for sure!
What makes this piece way better than it might have been is that Freeman doesn't fall into the simple equation of "rich oblivious person bad/hip nonbinary person good." Greta has legitimate points to make, and Freeman lets her make them. Tanner has legitimate points to make as well, and Freeman and Lichtfield let them make their arguments (and mostly keep their integrity), while trying to entice Greta to quintuple her donation. The debate/dance is fascinating and full of texture; I'm still thinking about it days later.
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| Aidem, Litchfield Photo: Kent Meister |
In the small space of the handsome set (designed by Craig Napoliello), Greta feels free to pace and wander. Tanner, a guest in Greta's house and in the less-powerful position, never leaves their chair. Greta sometimes feels like a predator stalking her prey, though she would never see herself that way. Greta wants to get her way, and also to be approved, liked, and sympathized with. (In a funny/horrible moment, Greta asks nonbinary, nonwealthy, working-for-a-living Tanner if they have any idea how it feels to be marginalized.) Aidem manages to make Greta a genuinely sympathetic and even likeable character while never diminishing her vivid faults. It's a great performance.
As Tanner, Litchfield has perfected the meaningful squirm and the eloquent gesture. She gives an amazingly physical performance, brilliantly done. We can feel who Tanner is.
(It's worth taking a moment to point out that this fabulous female character and equally fabulous nonbinary character were written by a male playwright. Good writers can indeed write across gender, race, age, etc. In fact, it's what good writing is.)
If this show were on Broadway, both performers would be nominated for Tonys--and it would cost hundreds of dollars to see them. But at the Wild Project, they can be seen in an intimate space for a reasonable ticket price. It's excellent theatre; it's a bargain.
Wendy Caster
