Powerfully going beyond a courtroom drama, Roe depicts a controversial Supreme Court decision and the polarized movements it generated. A turbulent history proves inseparable from the biographies of Norma McCorvey, depicted as plaintiff Jane Roe, and her lawyer Sarah Weddington. As their lives continue to affect continuation of women’s most personal rights, are there also responsibilities? Do answers appear in the superbly written and wonderfully acted, directed, produced drama at Asolo Rep? Playwright Lisa Loomer takes the audience on a historical trip through the relevant parts of the lives of the Roe vs. Wade plaintiff and her lawyer. Two “sides” on the topic of legal abortion start with their unusual getting together. Vulgar hippie Norma wanted her third and unaffordable abortion. Proper, ambitious Sarah sought to make it every woman’s legal choice. Loomer tracks the two’s paths of polarization. Biographical scenes meld with easily absorbed decade-to-decades history lessons and divided opinions addressed directly to the audience. Seriousness blends with comical moments. Sarah represents the Professional. Blond Bri Sudia, always in tailored dresses of restrained color. A political idealist, she speaks well and argues earnestly, yet—however concerned she may be—with restraint. Sudia brings out Sarah’s idealism as her primary motivation for a life lived through her work. Terri Weagant as Norma/Roe strongly personifies the Personal. Her first mixture of slurred and defiant speech characterizes her rootlessness. She’s a pregnant lesbian, clearly incapable of real love and casual about sex. Along the way, Weagant’s amazing Norma tidies up as she proves more and more easily convertible in her beliefs and allegiances. But even her final conservative religious fervor is always self-referenced. Director Lavina Jadhwani, like the playwright, never favors sides. She accomplishes some of that difficult effect by perfectly distributing her casting, giving each supporting actor multiple roles of conflicting nature or personality or problem within the play—for example, lovers, doctors, evangelists. Jade Turner is the notable exception as Roxy who makes only a final comment. Two other actors play two singular characters each: Michelle Aravena as Latins and Gigi Spagnolo as the faithful Melissa/Emily. Rachel Hauck’s set of tiered platforms makes switching scenes easy under Tess James’s varied lighting that’s also well used at times throughout the theater. Video by Wendall K. Harrington explains places and events when necessary and gets attention by being not, as so often is the case, overused. Tracy Dorman’s costuming reflects diligent research and Michelle Hart once again at Asolo Rep adds perfectly designed hair and make-up. I think it’s right of this play not to take sides on the constitutional question but to present enough information to let an audience consider what they are and what’s behind them. One thing is sure: the main issue has not lost any of its currency. That this play of length is not without cogent humor is a plus.
