What Did You Do To My Script?

Dingleberries – Interrogbang Theatre

Interrobang Theatre Project aptly describes their Season 11, entitled Off the Record, as “what happens when the world stops and life becomes viral.” With the quarantine imposed upon us by Covid-19, all live theatre and musical performances were, of course, halted. Theatres discovered new ways to share their stories with audiences, usually offering tickets to viral productions on the internet.

This world premiere by playwright Susan Chenet, that kicks off the company’s new season, is a virtual one-act. Advertised as a  dark comedy, it offers a somewhat clever premise that might be based upon Ms Chenet’s own personal experiences. The story is about a  dedicated middle school theatre teacher named Jonie, nicely played by Laura Berner Taylor. In her spare time, she has written a serious, but surrealistic play that deals with today’s social issues. Before the play begins, Jonie has entered her drama for consideration in a contest, sponsored by a noteworthy regional theatre. Out of dozens of submissions, Jonie’s play was chosen as their first production. It’s quite an honor for the young, aspiring playwright, but, as Jonie discovers, it’s just the onset of a longer nightmare.

In a series of Facetime phone calls and impromtu Zoom meetings, Jonie must field all sorts of professional and personal problems. In addition to an ongoing argument with Geoffrey, her selfish, manipulating boyfriend (who she discovers is having an affair), Jonie must deal with some insensitive criticism of her teaching by her Principal, Coach Jones, as well as multiple difficulties concerning the production of her play.

Jonie continually screams to Phil, the dense and distracted Artistic Director/Producer of the theatre, “What did you do to my script?” She repeats this query over and over again in several inane conversations with Jay (or Doctor “J”) Paddington, the loopy, loutish director who was hired to bring her play to life. Without her consent, Jonie’s play has been changed beyond recognition. She learns that the leading character’s gender has arbitrarily been switched from male to female; the actress chosen to play this role, is big-busted, apparently the only reason she was hired; the play has turned into a musical comedy, with the main character now performing an erotic dance/striptease; and a gun, the main symbolic prop in the play, is now a Barbie doll. And this is just the beginning. 

An insecure actor named Michael is constantly complaining about the rehearsal experience; someone named David annoyingly describes everything  as “Awe-some!”; and amid all the swearing, foul language, bickering and blowups, Jonie calls the director, and every other male she’s been talking to, “a dingleberry,” hence the play’s title. With no one listening to her, Jonie ultimately wants to pull her play from the theatre’s season, but because of a contractural agreement, this becomes impossible.

A year passes and Jonie, who should’ve learned her lesson the year before, has written another play and submitted it to this same regional theatre. Bob and Buddy, members of the play selection committee, are seen having a Zoom conference call with Jonie. Bob is more obsessed with his chicken dinner than Jonie’s new script. Buddy loves Jonie’s new play but, because he doesn’t feel it’s as good as her last play, he continually criticizes her writing. He scolds her, saying that her new drama “is not your voice.” The play ends with Jonie realizing that nothing she writes will ever be appreciated as written, unless everyone involved in its production is allowed to make their own changes to the script.

Shaped and guided by the company’s Managing and Artistic Director, Georgette Verdin, this viral play is kind of entertaining, especially for anyone who’s ever been involved with writing or producing theatre. However, several actors play more than one role, and it becomes confusing. In addition, most of the 55-minute running time, is a frustrating evening of difficult to understand cacophony. The performance features a lot of yelling, arguing, bantering and fighting, with no one ever listening to each other. This can probably be seen as a comment on how the artistic process is far more difficult than anyone would imagine. However, what we’re left with is an often frustrating audience experience, particularly when seen on the small, computer screen. Perhaps if this play is ever presented live the reaction will be more positive.   

Somewhat Recommended

Reviewed by Colin Douglas

Presented as a streamed-on-demand performance, June 24-July 18 by Interrobang Theatre Project.
Tickets are available by going to www.interrobangtheatreproject.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.