Stories of women struggling to define themselves in a male-dominated society are by no means new to the stage. From ancient European peasants to Asian concubines to the bored 50's surburban housewife, the archetype of the oppressed woman continues to appear ad nauseum. With plenty of familiar company, it is surprising that Danai Gurira 's play Eclipsed offers a remarkably fresh and layered perspective on the plight of subsurvient women.
Eclipsed, presented by the Center Theatre Group" Center Theatre Group and opened at Los Angeles' Kirk Douglas Theatre on Sept. 20th, narrates the daily routine of a group of "wives" (women who are raped and held captive as servants) of a rebel commanding officer in 2003 war-torn Liberia. There isn't much of a storyline. The plot loosely centers around a young, educated "Girl" initially staying in the wives' quarters as a stowaway, who ends up being taken as wife Number Four.
The rest of the wives each contribute and cope with the Girl's transformation in different and definitive waves. The leader of the pack, wife "Number One" (Bahni Turpin) is the nurturer and protector, contending endlessly to keep the Girl from the seductively brutal tactics of "Number Two" (Kelly M. Jenrette), the former wife now turned mercenary and the jealous, insecure nitpickings of "Number Three" (Edwina Findley). The Girl is eventually swayed by Number Two to become a soldier and finds herself wracked with guilt by the heinous crimes she is forced to committ, only to be lured back to redemption by "Rita" (Michael Hyatt) an articulate and morally-obstinate female peacekeeper who arrives at the wives' complex looking for her lost daughter.
The emotionality of the play is perhaps a little lackluster considering the brutality of the events being discribed and bleariness of these women's plight. The highly-charged, raving, dramatic scenes of the second act just don't pack the appropriate whallop Gurira seems to be going for. However, perhaps the mutedness is appropriate in this setting. The cries of these women are not often heard. The charm of Gurira's characters is not found in their compelling monologues, but in their common interactions. The first act, which sets out to establish the daily routine of the wives and their relationships with eachother is by far the most enjoyable to watch. It plays like an episode of the television series Big Love: familiar, poignant, irrational, and comical...the way every group of women tends to be.
The performances are wonderful and compelling across the board, a cast of women that perform together with naunce, breadth, and uninhibited earnestness. Edwina Findley's sassy, starkly insecure character tends to be the highlight of every scene she's in. The dialect brings yet another distinct layer of realism, thanks to coach Joel Goldes' efforts.
Sibyl Wickersheimer lush, jungle turntable set is a beautiful to look at, but perhaps a bit detractive from the dire straights these women are in. But director Robert O'Hara's staging and use of the space is ingenuitive and effective. The irony being that in the expansive walls of their compound, the wives have more space and liberty than out there in the overbearing jungle. And the final image of the play burns bright in the memory long after lights go down.
What's new, and perhaps most captivating about Eclipsed are the shades of grey Gurira shadows her characters in. Unlike similar stories, the spectrum of autonomy doesn't range from merely meek to indignant, but from helpless to merciless. It's a much broader playing field for these actresses to occupy, one that will hopefully open the door for female characters to explore for many years to come.
Eclipsed runs at The Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. 8 p.m. Tuesdays through Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. (Call for exceptions.) Closes Oct. 18. Tickets range from $20 to $45. To purchase, call (213) 628-2772 or online at http://www.centertheatregroup.org/.
