Tuesday, September 23, 2014
Inquirer Daily News

Review: 'How I Learned to Drive'

Paula Vogel's "How I Learned to Drive" gets an excellent ride at Theatre Horizon. Inquirer theater critic Howard Shapiro reviews from Norristown.

Review: 'How I Learned to Drive'

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By Howard Shapiro
INQUIRER STAFF WRITER

Several modern plays touch on abuse and molestation but none that I know of, including the much-produced Doubt, wield the sheer force of Paula Vogel's How I Learned to Drive. Vogel, celebrated as both a playwright and teacher of playwriting, won the Pulitzer Prize in 1977 for this look at the history of a woman and her uncle in a web of exploitation and defilement.

It's a clearly written, nuanced and immensely theatrical work - a narrative that Vogel seems to have built, deconstructed, then rearranged for maximum effect - and bringing it off demands well-considered acting and direction. Those are the hallmarks of the production by Theatre Horizon, which opened the play Friday night in Norristown, the company's final show at Centre Theater before moving a few blocks away to its own new space that should be ready in the fall.

Theatre Horizon, in over just six years, has established itself as a professional suburban producer of edgy drama and over-the-edge musicals; in the drama division, director Kathryn MacMillan carves another notch in the company's well-made belt.

How I Learned to Drive, for all its rich material, calls for a sustained pace over a one-hour, 40-minute one-act, and while I still wished for a play maybe 10 minutes shorter, I was by no means desperate. MacMillan's staging mines the rhythm of the play's scenes that go back and forth in the lives of its two main characters, and carefully minds the glue between these scenes, when some of the characters address the audience directly.

The play uses driving instruction as a metaphor for general behavior - and, as it becomes shockingly clear, abuse. Uncle Peck has been enamored of the niece the family calls Li'l Bit since Day One, when he held her in his hand. At age 11, she began to be his victim; by college, she was shaken to her core by the abuse.

One of Vogel's triumphs is the way she fans the fire: The buxom L'il Bit plays her own cards by being consciously seductive, spurred by her manipulative, creepy uncle. "Nothing is going to happen between us -- until you want it to," he tells her at several stages of her puberty, implying casually that she'll give in with enough pressure. Moreover, he's the adult in all this, a position of power he uses to insure that something is, in fact, happening between them.

Joe Guzman plays the uncle and is thoroughly inside the part, so much so that even when he smiles pensively, he exudes a subtle smarminess that makes you want to smack him just to erase the little grin. Christie Parker plays L'il Bit with her own constant undertone, a mixture of irony, hurt and a deep need to get her story out. Both are exceptional, backed wonderfully by Susan McKey in a variety of roles, one of which has her explaining, as she becomes evermore sloshed, the socially acceptable way for a proper wife to drink in the '60s. (Alcohol figures into the play in a number of ways.)

Also excellent are Matteo Scammell and Sara Yoko Howard in several roles, and Jered McLenigan, the voice of the instructor who gives us driving tips throughout. The production benefits greatly from Christopher Colucci's sound effects and plays out on Dirk Durossette's roadway stage, with a yellow line down the middle, itself a metaphor. "You're crossing the line," L'il Bit many times warns her uncle. He backs off, but never really stays in lane.

Contact staff writer Howard Shapiro at 215-854-5727, hshapiro@phillynews.com, or #philastage on Twitter.

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How I Learned to Drive: Through April 29 at Centre Theater, 401 DeKalb St., Norristown. Tickets: $29. Information: 610-283-2230 or www.theatrehorizon.com.

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About this blog
Toby Zinman's night job since 2006 is theater critic for the Inquirer. She also is a contributing writer for Variety and American Theatre magazine. Her day job: Prize-winning prof at UArts, author of four books about four playwrights (Rabe, McNally, Miller, Albee), and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). Her 'weekend' job as a travel writer provides adventure: dogsledding in the Yukon, ziplining in Belize, walking coast-to-coast across England, and cowboying in the Australian Outback.


Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.


Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.


Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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