By Sandi Masori
SAN DIEGO— Backyard Renaissance Theater tends to gravitate to plays that make you think. The current production How I Learned To Drive is no exception. Written by playwright Paula Vogel, and directed by Anthony Methvin, the play simultaneously tells the story of how Li’l Bit (Megan Carmitchel) learns to drive from her Uncle Peck (Francis Gercke) who was also grooming and molesting her since she was 11 years old.
The show is heavy, though there are moments of comic relief and levity. Throughout the performance driving instructions are used to break up the play and introduce different periods in Li’l Bit’s life. For example, before a flashback sequence the “Greek chorus” opens the sequence by talking about throwing it into reverse.
The printed program warns that “this play moves freely and swiftly through time and location with little to no warning. Smart drivers stay aware of their surroundings at all times.” That is exactly how it goes. The show mostly is set in the mid-sixties and seventies. To help facilitate the various locations and times, designer Yi-Chien Lee keeps the set very simple, with a mostly open stage. Simple benches, table and chairs are brought on and off the stage by the Greek Chorus who both narrate the transitions and play various characters in Li’l Bit’s life like her mom, her aunt, her grandparents, and high school friends.
Playing multiple roles as the “Greek chorus” are William Hussaker, Karson St. John, and Emilee Zuniga.
I particularly enjoyed St. John’s performance as Li’l Bit’s mother. The scene where she is giving drinking advice from the perspective of a 1960’s housewife is especially funny and well done.
Carmitchel did a good job in the main role, treating both it and the character with sensitivity and compassion. And Gercke’s Peck was heart-wrenchingly likable as all too often child molesters may be. There were some moments though where it felt a little like he may have forgotten a line or was rushing through it, though he nailed most of the scenes.
While I did find references online to Vogel being Jewish, I think the theme and message of this show is something that unfortunately happens in every community regardless of race, religion or ethnicity. And while it’s something that’s both hard to watch, and harder to talk about, it’s important that we have these conversations and let in the sunlight, for only then can there be healing or rectification.
The play runs through March 16 and has performances available at a discount for theater month through sandiegotheatermonth.com
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Sandi Masori is a theater and restaurant reviewer for San Diego Jewish World