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.
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