Looking for the Pony by Andrea Lepcio. Off the Wall Theater, 25 West Main Street, Carnegie, PA. Directed by Robyne Parrish. With Daina Michelle Griffith, Karen Baum, Theo Allyn, and Cameron Knight. Music by EMay. March 1–2, 7–9, 14–16 at 8:00 p.m. March 3 & 10 at 3:00 p.m.
Before the performance of Looking for the Pony begins at Off the Wall’s theater, you notice Stephanie Mayer-Staley’s set. In the center of the stage area is a large platform with two circular tiers. On the floor, a compass rose, the arrows pointing to all directions, radiates from its center. Behind this platform, against the rear wall, is an elevated desk. A fair portion of the wall is covered with chalkboard. Oh, there’s a seesaw, too, and a lectern.
Why the compass directions? Probably to express the physical distance between the two main characters, Ouisie and Lauren, but perhaps also reflecting an expression I’ve heard quite a bit recently: a “cancer journey.” One of these two women, friends from childhood, sisters by need rather than by blood, will be diagnosed with breast cancer early in the play and will endure a merry-go-round—it might almost be a roller coaster—of hope, fear, tests, doctor-shopping, filling out forms, contradictory diagnoses, insurance hassles, and the whole nine yards of “courageously battling” cancer, as too many obituaries have it.
If you’ve experienced cancer up close, you might hesitate to see this play. Don’t. It’s not a Disease of the Month tearjerker, though you might want a couple of tissues. It’s more about Ouisie’s dis-ease. Ouisie, who’s a few years younger than Lauren, is torn between getting on with her late vocation as a writer and “being there” for Lauren, who lives far away from her. Ouisie considers deferring her admission to graduate school, and the chance to study with a Big Writer, to stay with Lauren; but Lauren insists that she leave and take up this big chance. And Lauren continues to insist that Ouisie choose her writing over Lauren’s needs whenever a conflict arises.
Time is fractured. We jump forward a few months or a year, back twenty-five years, forward again. (OTW’s plays recent productions The Other Place and Gruesome Playground Injuries had this structure, too.) One minute the “sisters” are children on that seesaw, the next they are speaking on the telephone about Lauren’s children and Ouisie’s writing seminar. It’s to the credit of the director and the actors that this isn’t confusing. And that circular platform turns out to rotate, expressing the dizzying instability of dealing with cancer’s life-and-death doubt, while dealing with ongoing life.
The four local Equity actors are excellent. Karen Baum and Daina Michelle Griffith make the main characters touching and often funny. Theo Allyn and Cameron Knight play a zillion supporting roles each and range from moving to hilarious. There’s a Marx-brothers-like struggle between Allyn, as an insurance company representative, and Knight, as a lawyer trying to get her to approve payment for an expensive procedure. It’s a physical chase, wrestling match, mixed martial arts event.
I’ve seen the three women in many local productions, but Knight is new to me. Hats off to his infinite variety. He creates credible characters in a few minutes each. As a hair stylist and a vain celebrity doctor he’s exaggerated and funny; as the elderly client of Lauren, a social worker, he’s touching. And hurrah, the writing guru isn’t caricatured. Hurrah, too, that an African American actor is playing roles that don’t necessarily specify an African American.