How do people react in times of crisis? Does it bring out the best in them, or the worst? According to October, Before I Was Born, it may bring out a bit of both.
Three family members are waiting for news after an explosion at the Tennessee Eastman Company. The plant produced chemicals used in photo processing by the Eastman Kodak Company. All three of the characters have relatives working at the plant which, in 1960, was a major employer in this small town. Many of the playwright’s own family members were at the plant during the real explosion, and she heard stories throughout her lifetime about the tragic news of that day. The town was so small that almost every family living there was affected by the explosion, in which a number of people were killed and hundreds wounded. Lori Matthews, who now lives in Wisconsin, recalls her relative’s vivid memories of the tension, sadness and occasional humor generated by the explosion.
As the play opens, Martha, her wayward adult son Houston (Ken T. Williams), and a pregnant, uptight daughter-in-law, Anne (April Paul) are awaiting word on the fate of their loved ones working there. They sit in the plain but comfortable kitchen and living room of Martha’s house. Unfortunately, Houston’s tinkering with the TV has rendered it useless. The radio station has to end broadcasting in the early evening. Even the phone’s party line is jammed with people looking for news of loved ones.
Playwright Lori Matthews prevents October from becoming a tear-jerker by keeping the audience in the dark as much as the characters. During the play’s tense 90-minutes, we never discover whether the story will end with a funeral or a party. Maybe both. We do learn the fate of a few family members who survived the explosion; one even calls the house from his hospital bed. But that’s not much comfort for family members who still haven’t heard from their spouses.
The heart and soul of this play belongs in the oversized lap of Martha, the stalwart mother who proclaims throughout that “all will be well.” Seasoned actor Raeleen McMillion gives the performance of her life as the matriarch who has always held this family together. She reminds one of the mother portrayed in the film “Grapes of Wrath.” But even Martha’s calm is tested by the near-hysterical Anne. The only weakness here is Anne’s character. Although dialogue reveals that Anne had a solid career in the company’s management before going on maternity leave, we don’t see any of that grit come through until the play’s final moments. For most of the play, Anne comes off as a whiny, immature teenager. This is not the fault of actor April Paul, who understands that the seven-month-pregnant Anne is not going to be a sympathetic character. The talented cast, working under the direction of C. Michael Wright, create the necessary balance of highs and lows that are part and parcel of any waiting game. When Martha ventures out – by foot – to visit a neighbor who lives a good distance away, it gives Houston (Ken T. Williams) and Anne a chance to relive their own memories. This is one of the play’s most powerful scenes. Anne is clearly in no mood to discuss Houston’s past advances, so Houston tries to get her onboard with one of his crazy business ideas.
In Williams’ deft handling of the role, Houston is the outsider who verbalizes what many think but none is brave enough to say. Anne is quick to downplay his notions, especially about the reasons why she married Houston’s brother.
Heightening the play’s realism is the incredibly detailed set, right down to the 1960s design of the kitchen’s linoleum. Lighting, which goes from daylight to darkness during the play’s 90 minutes, is also impressive. Costumes, too, are right on the mark. Raeleen’s faded house-dress is in stark contrast to Anne’s businesslike maternity suit and high heels. Anne is wearing something suitable for her baby shower, which was interrupted by the explosion. < P>The playwright’s keen ear for dialogue, and the play’s small doses of humor, keep the audience riveted throughout, and the piece’s rich character development lingers far longer than the actual events that inspired this play.
