The revolution through Romanian eyes

Timothy Titus

The years between 1989 and 1992 were a flurry of some of the most

significant historical events of our time.

In 1988, the Soviet Union was a superpower. In 1992, the country’s

Olympic athletes competed for a vague entity called “The

Confederation of Independent States” and gold medalists

self-consciously saluted an unfamiliar flag while listening to the

Olympic theme song in place of their national anthem.

The time in between was marked by the domino-like fall of

communism throughout Eastern Europe. As the world watched, country

after country went through radical changes in government and economy,

changes from which many of these countries are still recovering.

Sadly, while most adult Americans remember this happening, very

few can now recall anything about the struggle within each individual

nation and within each of those nations’ citizens. This is the

driving force behind “Mad Forest” at UC Irvine. The play spotlights

the revolution in Romania and seeks to humanize the effects of such

quick, radical change on average citizens.

When the sun rose on Dec. 21, 1989, Romania was a staunchly

communist state, ruled by the brutal dictator Nicolae Ceausescu. By

Christmas, Ceausescu and his family were dead, and Romania was

struggling to implement a democracy.

“Mad Forest” documents this lightning-quick uprising through the

eyes of two families and a cadre of average citizens.

The first section of the play portrays the hardship of life under

Ceausescu, as rumors of revolution are whispered and secret police

search for troublemakers. It was a confusing time, and this confusion

is made clear to the audience as the story unfolds through a series

of short, incomplete vignettes.

While this section succeeds in relating the people’s suffering,

the relationships between the main characters are not adequately

established. This is unfortunate because knowing a character

generates sympathy, an emotion that audience members require in order

to feel the play’s full impact.

Part two of “Mad Forest” is both excellently scripted and superbly

acted. Life stopped in Bucharest on Dec. 21, 1989. Similarly, the

play stops at this point.

The events of the revolution are then accounted by the people of

Romania. These people represent both sides of the conflict and all

walks of life. From the early moments of confusion, to the last

remnants of revolt, each actor shines during part two. The actors are

genuine; their emotions are shared; their pain and joy are

understood. One wishes that a similar style could have been used for

the entire play.

The third part returns to the vignette style as the two families

learn to live in the aftermath of the revolution. Since we did not

really get to know these characters before the revolution, the

audience is somewhat apathetic about how the uprising affected them.

Additionally, the introduction of new characters and confusing

political and ethnic discussions distract the narrative to the point

of frustration. The thread gets lost.

But the story is told in other ways. Dancers Andrew Correa and

Melinda Vaggione provide a combination of ballet and modern

interpretive dance, choreographed by Valerie Rachelle. Andrea Caban’s

Dog character admirably reflects the emotions of the country through

movement and voice.

Emily Rogge watches over the events as an omnipresent yet somewhat

disinterested vampire, drawn to the smell of blood from miles away.

Rogge’s character seems to represent not only communist Romania,

but also various foreign interests who benefited from the bloodshed

of the revolution, symbolism that is eerily relevant to today. After

all, she ends the play by dancing with an angel.

Projected images -- designed into a story-telling sequence by Mary

Pinigree -- tell the history of pre- and post-communist Romania. The

stark yet versatile stage design of Chris Hansen adapts to the play’s

changing settings, emotions, events and methods of presentation.

Preston Horman’s complicated lighting design effectively creates

moods and themes without ignoring its basic function of lighting the

actors.

“Mad Forest” puts a human face on a conflict that occurred in a

faraway part of the world. What it lacks in story line, it makes up

for in creativity of script and very high caliber performances.

Most importantly, its message is that there is no message. Instead

of tritely portraying the downfall of communism as the end of all

problems, it sensitively depicts a people still struggling to

comprehend their world after being rocked by amazing change. The fall

of the dictator is only the beginning.

* TIMOTHY TITUS reviews local theater for the Daily Pilot

occasionally.