Review: THE GOOD GIRL at Primal Forces

Primal Forces presents their season opener, The Good Girl by Emilie Collyer

Pictured: Amber Lynn Benson and Jovon Jacobs

"If you miss (theater at) Arts Garage, we're back! We're back with a vengeance" says Primal Forces producer Keith Garsson. Garsson established a reputation for bringing provocative, little known plays to Arts Garage in Delray Beach for a season and a half, before the theatre program was abruptly terminated by incoming, fledgling CEO Marjorie Waldo. Though he may have initially felt disappointed that he was not given enough time to establish his brand and develop a following at Arts Garage, Garsson simply regrouped and brought his vision and his company, Primal Forces, to Ft. Lauderdale.

And how would Garsson describe his vision?: "What interests me is all the various permutations in relationships between men and women. Or women and women or men and men. There are as many variations on that as there are people. And there are different emotions. So when I say it's about sex, it's about the battle of the sexes, of the genders" he said. Helping him bring that vision to fruition are former Arts Garage team members Genie Croft as resident director, and Jamie Cooper as production stage manager, joined with Marj O'Neill Butler.

True to that vision, Primal Forces presents their season opener, The Good Girl by Emilie Collyer. Set some time in the future, the two-person, one act play is a kind of dystopian tragedy. The characters are Anjali, a woman whose job it is to care for an elite prostitute robot, and Ven, a man whose job it is to maintain and repair the robot. In this society, the need for prostitute robots is born from the previous outbreak of a pandemic unnamed disease. A disease that took the lives of many, and left those remaining in fear of direct physical contact. Though the two young characters interact with each other face-to-face, they do not know how to relate to each other; and they don't know how to relate to the Orwellian universe in which they find themselves.

The slick set for this production features smooth curved lines, cut out mirrors in patterns resembling a big city sky line, and cool shades silver and blue. It looked almost like a sleek, chic apartment that could have been perched high above an expensive view of Manhattan. Anjali, played by Amber Lynn Benson, sports a classic, platinum blonde, Vidal Sasson bob, with pale skin, smoky eye, and blue lipstick and form fitting dress. She looks just like her surroundings, beautiful but cool. There is an unapproachability about her despite her physical appeal. This is in keeping with a story line in which people actually have replaced physical human contact with virtual reality and robots. Ven, played by Jovan Jacobs, seems much more casual and approachable, and in this circumstance, becomes the catalyst for the change at hand.

Anjali and Ven discuss the evolving tastes of the customers, and the resulting programming accommodations to be made to the robot. The dialogue is framed by the author addressing the themes of personal security, gender relations, capitalism, and social order. At times their verbal exchange switches from being a dialogue with the other person to an internal monologue laced with free floating association. It is the observations sprung from the moments of free floating association that are the most entertaining moments in the show. In these moments they see the irony in customers wanting "emotional flaws" programmed into their robot such as jealousy, possessiveness, and vulnerability. They ponder the nature of relationships, the vulnerability that results from their own isolationism, and the world outside into which they have never been. The disjointed nature of the dialogue sometimes works against establishing the bond of two soles reaching out for someone across an apparent abyss. But the message pushes it's way through the chill of this dark comedy.

Some of the banter flows more easily than others, and it seems that Benson is more settled into her role than Jacobs. In terms of direction, I would have liked a little more clarity in beats that defined when they were talking to each other, when they were in their own head, and when they were in virtual reality. Perhaps this could have been done through lighting changes. I confess that as I walked a friend to their car after their show we weren't sure we got it all. Though this is an intrigue, thought provoking piece, We just needed a little more help making our way through the metaphoric world of the author, Emilie Collyer.

Emilie Collyer is an author, playwright and freelance copywriter who lives in Melbourne, Australia. Her creative works have been widely published, produced and awarded and include the recent e-book collection of short stories: A Clean Job and other stories. Her plays include Dream Home, Maybe We're Never Together, Once Were Pirates. Collyer studied at the Victorian College of the Arts, and currently teaches workshops specializing in Generative Writing.

Following this production of The Good Girl, the second play of the season will be Roz and Ray by Karen Hartman (Jan. 26-Feb. 11, at Empire Stage). Taking place from 1976 to 1991, it follows historic events imposed on the relationship of the two title characters in the era of AIDS. The third play will be Speed Queen, a world premiere written by and starring New York cult actress-singer-composer Phoebe Legere (Feb. 9-23, at Andrews). The fourth play, Girl Play Too (March 9-23, at Andrews), is a series of short plays that Garsson says is informally subtitled Lesbians and Other Sins. The Primal Forces season will end with An Accident by Lydia Stryk (May 4- 20, at Empire Stage), about a woman accident victim whose recovery in the hospital parallels the journey of the gentleman who accidentally hit her. If the season seems to emphasize women, that is no accident. "All of my seasons will always be female-centric, says Garsson. Why? "I'm a man and I'm bored with me. I'm not a woman, so they're much more interesting."

The Good Girl will be appearing through October 29th at Andrews Living Arts Studio, located at 23 NW Fifth St. in Fort Lauderdale (FAT Village). Show times are 8 p.m. Thursdays-Fridays, 7 p.m. Saturdays, 2 p.m. matinees Sundays. Ticket prices are $30. For reservations, and/or information about Primal Forces you may contact them by phone at 866-811-4111 or on line at PrimalForces.com.

Primal Forces will play their full season both at Andrews Living Arts, 23 NW 5th Ave., Fort Lauderdale, and at Empire Stage, 1140 N. Flagler Drive, Fort Lauderdale. 866-811-4111. Please check each show listing for production location.

Cast:

Anjali: Amber Lynn Benson

Ven: Javon Jacobs

Crew:

Director: Keith Garsson

Set Design: Natalie Tavares

Lighting Design: Robert B. Nation

Sound Design: David Hart

Costume Design: Alberto Arroyo

Make Up/Hair: Milene Miranda

Stage Manager: Jamie Cooper

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