"The Aerodynamics of Accident," which premiered Wednesday in Haugen Theater, is one of the most redeeming pieces of theater I've ever experienced. With its mediated elements, interesting plotline and the excitement surrounding its production, I found myself enjoying it more and more with each passing minute.
The play by 31-year-old Deborah Stein is being fully produced for the first time as part of the Minnesota Playwrights Center's New Plays on Campus program, in which playwrights visit campuses to give college students a novel experience in the traditionally quiet part of the theatrical process - the act of writing the play itself. Stein visited campus for three days at the beginning of the semester to work with actors, designers and the St. Olaf community to bring the play to life.
The play stars Carolyn Wesley, David Rysdahl and Angela Gulner, all class of '09, with each actor's character bringing equal amounts to the plot and none of them falling into the background. Wesley plays, according to Stein's stage directions, an "academic without an academy," who has been fired from her post as a researcher and professor because of her controversial pursuits. Taking her place and prestige is Rysdahl's character, Bergen, who has fostered a relationship with the house-bound Willa, played by Gulner.
Mona and Bergen both find interest in the life of Frank Wild, Willa's late husband, a famous architect and inventor. Mona, however, violates protocol and, even though it may mean her job, searches for answers in the mystery of Frank's life. It quickly becomes apparent that Frank haunts Willa and the house she has occupied for the last 75 years.
Willa is the only person allowed in the house, due to specific theorems of Frank's design - whenever someone else touches the house, it will shift and rock, causing Willa to feel unsafe and as though her house may crash.
Throughout the first half of the play, Mona and Bergen continually touch the house - to rest, lean or tap. Every time this happens, Willa insists that they stop. It became irritating to me as an audience member to have the two researchers be so dense that they don't realize they are touching the house. Willa clearly is bothered by the continual disobedience of the academics - shown by Gulner's impeccable bodily shifts - but it's hard to believe that the characters wouldn't knock it off and stop touching the house.
The play hits its only low point when Mona steps into the house, falsely thinking that her weight will balance the structure. What ensues is a moment of brilliant physical acting, but a feeling of anger at the characters for not following Willa's wishes.
However, the show from this point on is, as mentioned before, completely redemptive and compelling to watch. The play has underlying themes of sexism - Frank has possession of Willa even after his death, Mona is fired from her post because of her creative endeavors. Gulner and Wesley have a beautiful moment shifting their bodies in unison where it becomes clear that Mona is who Willa would want to be - if circumstances and the times had been different.
The play, performed without an intermission, ends with a chilling monologue in which Gulner shifts characters as part of her character's being possessed by ghosts. Gulner, a veteran to the St. Olaf stage, says it has been the most challenging role she's ever played.
"At the first read-through, I didn't know what to do," Gulner said. "Deborah defined her not as old, but as antique. That was a really helpful word."
With respect to the play's overarching theme of ghosts, Gulner believes that the audience needs to actively participate. "Everyone has to be willing to go there-to this imaginative world," Gulner said. "The play is about memories, the impact people make on each other's lives."
The theater is an increasingly mediated world, and this premiere of "Aerodynamics" is no exception. The set, designed by theater department technical director Todd Edwards, is a union of old and new with the historical elements of architecture flanked by a screen used for video elements. The set serves as a perfect metaphor for the generational gap present between Willa, her demons, and the other two characters.
Nick Thompson '10 designed the sound and music for the show. His design incorporates the eerie shifts of the house to make them seem more realistic, as well as music to complement the action of the show.
"I was trying to connect the poetic nature of the play with many non-realistic sounds," Thompson said. "So hopefully my sound stands as poetry in relation to the play. There were a lot of specifics asked for from the script."
The specifications laid out by the playwright did not deterr Thompson from his creativity.
"I took a creative liberty on a lot of them and usually came up with sounds that fit the idea the script was going for, but I did not specifically do what it asked for," Thompson said. "It was a big design that took up a lot of my time. I worked hard and believe my effort paid off."
The play is definitely an enhancement to the theater season at St. Olaf and has been a learning experience for all involved. The play runs through Sunday, and will be a welcome break from studying - but beware, with its intricate plot, underlying themes and production elements, you can't shut your brain off while watching.
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