Old Town Strawdog Theatre Company
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“Deb Mell believes that one person can make a difference,” her campaign Web site proclaims. “Growing up in a family dedicated to serving others, Deb has witnessed firsthand the positive impact one person can make.” Family values and the power of the individual are two cornerstones of our culture, but they don’t always go hand in hand. Mell’s invocation of her family undercuts the individualism implied by the “one person can make a difference” line. That’s especially true when you consider the skeletons political families keep in their closets, as Mell—sister-in-law of Governor Blagojevich—may learn as she tries to steer clear of controversies involving Blago’s campaign contributions.
Thing is, Cindy’s ambitions were foisted on her. She’s uncommitted to the life she’s been trained for and unhappy about the baggage that goes with it. That baggage includes a husband she doesn’t love but can’t divorce for the sake of her image; her stepmother, Liz, a trophy wife half as old as Cindy’s father; an intrusive press, represented by pushy TV reporter Karen Mosher; and the contributors and power brokers to whom her family is indebted. But since her brother Scotty is a useless, sardonic drunk who wants nothing to do with politics, the burden of carrying on the family legacy rests squarely on Cindy’s shoulders.
The script’s biggest shortcoming is its lack of detail. What are the scandals that plague her father? What exactly is wrong with her marriage? We’re never told. Perhaps Neveu is being deliberately vague in order to distill the elements of the plot to their essence. In drama, though, universality emerges from specifics. Right now this world premiere feels like a rough draft. But Old Town is an intriguing, quirky little show that, with some work, could have a future.v
