BWW Reviews: Muddy Waters Theatre Presents Haunting Production of HOW I LEARNED TO DRIVE

Muddy Waters Theatre end their season dedicated to playwright Paula Vogel with her award-winning work, How I Learned to Drive, and it's easily the most accomplished and straightforward of her plays. It lacks the humor of the others that were presented this season, but it replaces the laughs with something deeper that disturbs and stays with the viewer long after the play has ended. This is a very successful staging of this haunting work powered by sharp direction and stellar performances.

Li'l Bit is, like all the members of this peculiar family we encounter, named after her genitalia. She has an unusually close relationship with her Uncle Peck, who teaches her to drive, but also molests her from age 11 until she reaches 18 and puts a stop to the practice. This makes for a discomforting experience to watch, and yet we're drawn to this unusual story full of quirky characters.

Laurie McConnell does terrific work as Li'l Bit, capturing her as a young prepubescent girl and carrying her through to adulthood with astonishing grace and ease. You identify with her, and you want the molestations to stop, but you find yourself curious as well, empathizing with the innocence she projects. B. Weller is strong as Peck, letting you into the mind of a molester, but ingratiating himself by his seemingly kind presence. He rarely steps over the line, so you're not sure whether you should pity him or be repulsed by his behavior. Weller manages to walk that fine line.

Michael Brightman, Kimberly Sansone and Denise Saylor are the Greek chorus who take on all the other roles, but distinguish themselves most as the gruff Grandfather, Li'l Bit's mother, and her grandmother, respectively.

Director Milton Zoth does an exceptional job with this talented ensemble, and the non-linear storyline, which plays out in flashbacks, is easy to follow. Cristie Johnson's set design is unusual and rustic, but seems to have some sort of symbolic meaning that adds to the overall effect. Theresa Loebl's costumes are good, simple fits for the characters, and Jim Wulfsong's lighting keeps the action clearly in focus. Michael Perkins adds projections that illuminate in much the same way that the sound design of Jerry McAdams sets the atmosphere and mood.

How I Learned to Drive is easily the best of the Vogel productions and well worth seeing. This production continues through November 20, 2011 at the Kranzberg Arts Center.

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