‘night,
Mother’ a tear-jerker of a play
By
Margaretta wa Gacheru
‘Night,
Mother’ is the sort of play that can haunt the innocent spectator who’s only
heard the drama is about depression and a young woman contemplation of suicide.
Staged last
weekend at Kenya National Theatre’s Ukumbi Mdogo, one might assume you wouldn’t
be afflicted with a suicide taking place on the Kenyan stage. And yet, one can
recall a number of other gruesome scenes performed recently on stage in
Nairobi. For instance, there was the way Jesus was tortured and slaughtered at
the Kenya National Theatre in ‘Jesus Christ Superstar’. Then there was Nairobi
Performing Arts Studio’s interpretation of the hit South African (and Broadway)
musical, ‘Sarafina’, where student protesters were shot dead by Apartheid home
guards right there on the National Theatre stage.
But even
with these recollections, one wouldn’t necessarily expect to be affected so deeply
by the performances of Julisa Rowe as the Mother and Rachel Kostrna as her
miserable daughter Jessie.
The haunting
sense only gradually creep up on you. It’s in a way that’s similar to how the Mother
only gradually sees that her daughter means it when she says point blank that she’s
going to kill herself. Jessie doesn’t say she ‘wants’ to kill herself. Rather,
she firmly declares she intends to do the fatal deed that very evening. She won’t
be deterred by her mother’s imploring which gradually reaches a high pitch of
pain that Julisa miraculously manages to sustain.
It’s that
pitch which starts off as a slow burn. The Mother initially attempts to
distract her child from her intended end. Mother tries to make light of the
matter. She suggests Jessie try her favorite foods, hot cocoa and a caramel
apple, the kind only Mother can make.
But the
mother flubs it. What’s worse, Jessie’s end game seems all the more inevitable as
she insists her mother tell her truths she had always wondered about. Like did
Mother love Father? No. That’s what Jessie thought, but the daughter did, even
though her father took his own life and left her alone.
And why did
Jessie’s husband Cecil also leave her? Mother spills the painful truth: he had
another woman.
But what
perhaps is the most painful truth the Mother tells her child is that Jessie had
epileptic fits from a very early age. She had never told her daughter this
before and never even got her diagnosed.
The first
time Jessie realized she had a problem was when she had a frothy fit in Cecil’s
presence. The story got spun that Jessie only started getting fits after she
fell off of Cecil’s horse.
‘Night,
Mother’ is a captivating and complex story about everything from depression due
to ignorance and communication breakdowns to the shame associated with the social
stigmas of epilepsy and depression.
But back to
the haunting feeling I was left with after watching this Sanifu and ACT Kenya
production featuring Dr. Rowe, the actress and former Daystar University drama
lecturer and Rachel Kostrna, the professional dramatist from Oregon, USA.
Julisa
portrays a simple woman from rural America who hasn’t a clue that her daughter
is suffering from severe depression which had reached the point of despair and
no return. It’s probably the way the Mother finally recognizes her own insensitivity
to her child’s pain that is so painful to watch. Equally excruciating is the way
the mother’s native intelligence finally kicks in and she sees she’s got a life
and death struggle to wage in order to save her daughter’s life. Tragically, it’s
a struggle she ultimately will not win.
‘Night,
mother’ is hardly a happy play. My feeling is it’s almost impossible to watch without
weeping with the Mother and her hopeless recognition that she had no power to
change her daughter’s mind. The feeling of helplessness in the face of death
doesn’t feel like play acting on Julisa’s part.
One is
haunted by the mother whom the actress seems to know in her bones and marrow as
a pitiful creature. She plays a mother whose love is not strong enough to make
her daughter see life is still worth living and hope is still something she can
hold onto.
Ultimately,
both the mother and the child are trapped at many levels. What’s more, the
Pulitzer- prize winning playwright of ‘night, Mother’, Marsha Norman, makes us
wonder if, in the end, the daughter is more honest with herself than her mother
had ever been.
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