By Teresa Gashler
A linear representation of life experiences is frequently inaccurate in portraying the processing tendencies of the human brain. Yellow Umbrellas by Morag Shepherd uses abstract techniques to explore and find meaning in the combination of past experiences. The beautiful paradox is that the abstract can be more real than linear “reality” would be, as the brain works abstractly to comb through experiences out of order. The result is relatable, meaningful, and devastatingly beautiful.
The story centers around Cassandra (Rachelle Elbert) as she maneuvers through the problems in her relationships, particularly with her sister Marie (Alexis Boss), her dad Max (Jeff Kocherhans), and Marie’s fiancée Jon (Tyler Harris). The scenes explore her memories from being 12 to adult in a nonlinear fashion. Cassandra, Marie, and Max frequently mention their mother, who is no longer with the family, as if the problems started with her. Max gives Cassandra and Marie yellow umbrellas that metaphorically prove to be insufficient in sheltering them from the storms they face. Cassandra urges Max to tell her where he secretly visits on a regular basis, though he will never disclose that to her. We discover that Cassandra has developed a romantic relationship with Jon that not only implodes on itself but puts her relationship with Marie at risk. We see many instances where Cassandra and Marie go to play chicken on train tracks, a game that requires them to tell each other when to get off the tracks safely as a train approaches. This train game serves as a metaphor for the family as they make hurtful choices but still long to trust each other. Through many trials of losing trust in each other and feeling hopeless, the play ends with forgiveness and a resolve to start over as much as possible.
The performance venue was a comfortable space for being small. The smallness is arguably a positive factor as you could feel the presence of the actors and music. The minimalistic approach from the director (Christy Foster) and stage manager (Jake Fullmer) was well executed as each stage direction and prop had defined, meaningful purposes. The accompaniment of a single guitar from the musician (Gary Argyle) played an important thematic role, filling in gaps that would otherwise be filled in with scenery and sound effects. I would love to see more theatrical productions use a musician in the same way to cut down on the spectacle and bring more focus to the story.
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The ensemble worked brilliantly together. Elbert dove deeply into Cassandra’s character, allowing the audience to feel her joy and experience the sting of her selfish choices. Boss, Harris, and Kocherhans also succeeded in portraying their characters as flaw-filled human beings that we can’t help but love and root for.
Yellow Umbrellas is a great play for those new to abstract theater and abstract connoisseurs alike. While many brilliant abstract works leave the audience with little direction other than despair for the human condition, I appreciate that Shepherd ends the piece with hope, something we desperately need in our world today.
Yellow Umbrellas has now closed, but was performed at The A-Frame – 883 N 1200 E, Provo, UT 84604
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