An awful subject gets an awfully good and perceptive treatment by playwright Paula Vogel and FSU/Asolo Conservatory actors under the awe-inspiring direction of Jess Jou. They find light in the dark corners of heroine Li’l’ Bit’s memory of her driving “lessons” learned from her loved, and later almost-loathed, Uncle Peck.
That Li’l Bit’s family named each member for sexual qualities explains the kind of humor with which they kidded her, from her earliest signs of maturity through her adolescent development of relatively large breasts to her confusion over the relationship between love and sexual desire. Allie Henkel achieves the right balance at each stage, seen in Li’l Bit’s interaction from age 11 to late-20s with Peck and related others. She’s particularly devastating as a college flunk-out and admirable as one who manages to free herself to be a new self at last.
Matthew R. Olsen is the Uncle Peck one loves to hate as a patient smoothie with ulterior motives behind his comforting ways to Li’l Bit. He knows how to build suspense over whether or not Peck will show his hand and perhaps have it slapped as well as regarding the nature of his plot -- lust or love. Still, I found his photographing Li’l Bit as creepy as his actually fondling her, and that was creepy indeed.
The remainder of the cast fits well into various roles of relatives and observers of the principals. Author Vogel lists them as members of a Greek chorus, possibly because they often speak as related individuals straight to the audience. But they don’t comment on the nature of the main action as much as explain their participation in it.
The major supporting character is Li’l Bit’s mother Gracie Lee Brown who interests with her not-too-good advice. As Peck’s wife, she’s intriguing with the probability that she knew what was going on -- and so what? Won’t she get her husband back finally?
Chris McVicker’s effective set of multiple desks surrounding a rear blackboard and front chairs might be a classroom. The components can be rearranged easily to turn into other scenes, such as in the family house or a motel or restaurant. Aunt Peck’s delivery from one side of the stage suggests her position relative to the action.
Every scene is truthfully lit by Aaron Muhl and costumed by Ross Boehringer. Director Jou’s blocking is as impeccable as his coaxing of emotional movement from the actors. The whole production is the best I’ve seen of this hard-to-see yet important play.
