BWW Reviews: MCPHERSON MADNESS Offers Insider Look at Occupy DC at Capital Fringe

I am about as straight-laced and non-activist as they come so I didn't exactly participate in Occupy DC in 2011. My only encounter with the movement (if one can even call it that) was reading emails that came across my desk in my government office reminding people that frequent McPherson Square to be mindful of their surroundings and realize the potential impacts of the mass gathering on traffic.

I share this to say that that Occupier Kelly Canavan's play McPherson Madness doesn't exactly give people like me any explanation as to why the occupiers joined the movement, what exactly they were fighting for as a collective - other than to ensure the 99% have a better future - and how they planned to achieve a desired end-state. However, she makes it abundantly clear that's not her intention. While those looking for these answers won't find them in this play, the work does offer a very personal, human, and insider portrayal of what went on inside the camps. More broadly - and perhaps most accessible to those who aren't about to go out and join large-scale protests - it offers some insight on what it means to control one's life and explored the inherent struggles with deciding a path to take and sticking to it no matter the cost.

Canavan's play mostly centers on the experience of one individual at the camp and, by extension, those she meets throughout her stay. Outside of the camp, Dreama (played by professional actresses Jen Bevan and Tina Ghandchilar) struggles with being a young mother to her little boy and a life-altering seizure disorder. Despite her mother (Marianne Ross, whose stilted acting is far from compelling) and doctor's (Jean Miller) protestations and concern for her and her son's well-being, she carries on and focuses her energies on making the camp run as smoothly as possible from her position at the information desk. We see Dreama meet with reporters, tourists, and the other occupiers (some played by those who actually experienced the camp firsthand) in various gatherings of all shapes and sizes. This mechanism allows Canavan to share additional information on how the people organized themselves (a fascinating sociological study in and of itself) and ensured the camp ran as smoothly as possible. As tensions flared - as expected in any situation involving a large swath of people who likely have very strong individual opinions - Dreama did her best to help resolve them in the most rational way possible.

Despite this interesting lens from which to view the protest, Canavan's play does have several problems. However, none of them overwhelmingly hinder the undeniable impact of the play. With a few script refinements and other modifications she could be on to something.

After we get to know Dreama a bit, it's clear that she's spinning out of control in her real life partially as a result of family stress and that of her illness, although she seemingly has it mostly all together when she's working as a member of the movement, which is her source of focus and purpose amidst the chaos. In this regard, it makes sense to have two actresses share the role - and at times share the stage - to show Dreama's inner-struggle.

Bevan and Ghandchilar wear the same kinds of clothing (Antonya Huntenburg) and style their hair in the same way making it somewhat believable - despite their not so similar physical appearances - that they are in essence one character. Bevan's take on Dreama is more collected, compassionate, and kind while Ghandchilar's is suitably more intense, angry, and conflicted. In lesser hands, it would likely be initially more confusing as to why this dual performer theatrical device is employed because the beginning scenes are a bit muddled script-wise, but Bevan and Ghandchilar are very much up to the challenge. In some ways, it very much saves the play by choosing to use equally talented professionals in these roles.

Other issues are more script-based. Canavan's insistence to have one of the occupiers remind everyone that since this is a play they would not be carrying out their full meetings as they'd usually do in the camp - presumably for efficiency sake - is eyeroll-worthy although it does generate some laughs. The cutesy 'meta' references cheapen the experience, but thankfully they're limited to two scenes. Further, while it's understood that the 'call and response' method of communication was actually used within the camp and therefore makes it authentic, it's so heavily used in the play that it becomes tedious and predictable and even a little bit distracting. Perhaps if used more sparingly it would have still allowed the play to remain authentic, but ensure further focus on the narrative plot.

Under the direction of Lynnie Raybuck, a group of enthusiastic and passionate cast and crew members show their commitment to and understanding of the personal yet ultimately universal story. However, while I commend the creative team's decision to employ real-life activists in the production - as members of the design team and the cast - this leads to some mixed results.

Lines sometime come off as being read, some could not be heard at all, and stilted acting is quite prevalent among some of the camp-dwellers. On the technical side, Raymond Voide's painted backdrop of McPherson Square gives a nice sense of time and place and the lighting design (S. Dwayne Bruner) while minimal allows for all action to be seen (this isn't always the case with Fringe shows). The sound design (uncredited) isn't particularly inspiring and is generally comprised of cellphones ringing (some of which are timed to the action and some of which aren't). I would have preferred more diverse ambient noises to give a better sense of the sounds of the camp.

Still, there is a lot to like in this play and there are ample opportunities for future development if Canavan and Raybuck pursue that path.

Running Time: 70 minutes.

McPherson Madness has two more performances in this year's Capital Fringe. For tickets and additional show information, see the Fringe website.

Graphic: Courtesy of show website.

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