Did any of you have a ska phase? I did, in high school. It lasted a year or so and it began with the purchase of my first CD—Reel Big Fish’s “Turn the Radio Off.” I thought it was a brilliant and infectious comment on the industry. You know, really giving it to “the man.” The album cover was simply the first article of the Bill of Rights: the right to freedom of speech. Take that, establishment! Then there was that one song…“Sell out with me tonight! Sell out with me, oh yeah!” I also thought the trombone player was really hot, so I started playing the trombone. By the end of eighth grade, I was really fucking good. Speaking of Reel Big Fish…
This week: Theresa Rebeck’s “The Family of Mann,” directed by Margaux Weisman ’09.
“The Family of Mann” marks Weisman’s second directorial project at Wesleyan. She debuted last semester with “Manuscript.” With Rebeck’s script Weisman was presented with the challenges of staging a play set in non-unified time and space (i.e., several months displayed across multiple settings), as well as working with a larger cast. Two of the actors, Chris Correa ’09 and Bem Smolen ’10, worked previously under Weisman’s direction on “Manuscript.” Weisman found it initially awkward to work around these previously established relationships, because “I relate them so strongly to their previous roles.” Additionally, she had to take particular care not to let the subtle pessimism of the dark comedy (here, Weisman loosely relates the script to the film “The Heathers”) infect the positive rehearsal atmosphere.
The result: a collaborative performance of Theresa Rebeck’s “The Family of Mann,” spearheaded by Weisman. She decided to choose this script for its subtle themes, among other reasons. “It’s also kind of offbeat,” Weisman comments, “and about a different world, in other words, not about college.” The play takes a behind-the-scenes look at a 1993 Los Angeles television studio. A young creative writing teacher moves to the city to write for a sitcom, but the life of a television comedy writer in Los Angeles ends up being not quite what she expected. Through her disillusionment, the play examines power relationships in the industry and how far individuals will go for success. Weisman, who grew up in Los Angeles and spent much of her time on television sets, feels a particular sort of nostalgia towards the play.
Weisman also reminds us that 1993 saw the debut of “My So-Called
Life” and the release of the songs “Rhythm Is A Dancer,” “(I Would Walk) 500 Miles,” and “Don’t Turn Around.”
When asked why Argus readers should come out to see “The Family of Mann,” Weisman simply responded, “I put out.” I’m not sure what she means, but I’ll be there.
The Family of Mann opens Thursday, April 19 at the ’92 Theater and runs through Saturday, April 21. Performances Thursday and Friday at 8:00 PM, and Saturday at 2:00 and 8:00 PM. Day-of tickets are free at the box office. Cast: Matt Connolly ’09, Chris Correa ’10, Sophie Finkelstein ’09, Ben Gascoigne ’10, Jessica Posner ’09, Daphne Schmon ’09, Ben Smolen ’10. Stage Managers: Indee Mitchell ’10, Joelle Minott ’09, Costumes: Hannah Freece ’09, Anna Gevalt ’09, Lighting Disciples: Ian Agoos ’10, Aidan O’Brien ’10, Vigilante of Sets and Furniture: Elise Herrig ’10.
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