2008 Woodie Awards
'Aerodynamics of Accident' reviewed
Ghosts and memories haunt new play from visiting playwright Stein
Molly Trucano
Issue date: 10/3/08 Section: Arts
"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 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.
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