Duck and Cover or Fight Back?

This is Only a Test – Broken Nose Theatre

It’s come to this: almost everyone owns a gun now in this country, and school shootings are practically a daily occurrence. The result is lockdown drills being held in every educational institution that are as commonplace as tornado and fire drills. But playwright Eric Reyes Loo has taken these preventative exercises to another level in his world premiere drama. Inspired by a report he saw on MSNBC about how one high school was doing more than simply locking down, in response to the epidemic of shootings in this country, Loo saw a play in the students’ reactions to their training. The kids were skeptical at being instructed how to fight back. Their collective view of the program was that it was all fake and just like practicing for a school play.

In this drama, The Man (played with authority by Christopher M. Walsh) is Peter, a forceful representative from a new security company. He convinces a high school Principal (portrayed with dignity by company member RjW Mays) to let her students participate in a revolutionary new method of dealing with these frequent school shootings. He persuades the Principal that the students must learn to become pro-active in order to survive such a tragic event. Ultimately she’s convinced. Her only goal is to do whatever is necessary to keep her kids safe in this violent world. Peter becomes obsessed with changing the kids’ complacent attitudes with his Active Shooter Drill program.

Loo’s serious drama contains elements of Theatre of the Absurd, but only because the play, taken from a real life story, is so preposterous and irrational. We’re continually reminded that this high school is severely underfunded and programs like physical education and theatre arts are being eliminated on a daily basis. Yet somehow the Principal is convinced that there’s money available to fund this new Active Shooter Drill, as a mandatory  instructional exercise. After each startling incident in the program, the Principal meets with Peter to end the program. However, in spite of her arguments, he manages to convince her to continue with his outrageous training program.

Both Ms Mays and Mr. Walsh also play the parents of each student. They’re all very different and unique, but it’s sad and a bit frightening to witness the changes that come over them as the in-school project with their kids continues. But the real character shifts are with the four students. Each high schooler is pretty much a stereotype. Selma (played with a natural authenticity by Zhanna Albertini) is a smart upperclassman, who’s very serious about her education and who becomes increasingly suspicious and afraid of the absurd new training they’re receiving. Lenore (portrayed by Sophia Vitello) begins the play as a shy, insecure, mousy underclassman who claims to be an actress, although she’s never been cast in a play. As Peter’s training sessions accelerate, Lenore becomes more confident and obnoxiously bossy. 

Wynn is your typical high school guy, a kid who’s putting in his time, but with no real aspirations for the future. As played by Austyn Williamson, this likable young actor is totally believable and realistic in his portrayal. He begins the play rolling his eyes and scoffing at others in his class, but as the story progresses, and he spends more time in the Active Shooting Drill with his fellow classmates, Wynn begins to like them more and even develop some empathy. Kramer is the often tormented and ridiculed gay student who, as played by Graham Helfrick, finds a new strength and feelings of empowerment, as the training continues. Wynn influences Kramer to go beyond his interests with the Drama Club and spend some time lifting weights. The two boys begin to bond in the gym, but when old wounds are reopened an unexpected turn of events takes a new twist in the students’ relationships.

Eric Reyes Loo has written a play that provokes many ideas but just isn’t satisfying as a theatrical event. It feels uneven, what with its continually shifting scenes. Doing the best he can with this script, it’s directed by the talented and experienced Toma Tavares Langston. The drama questions whether, if a school shooting takes place, is it better for students to simply duck and cover or to take action and defend themselves? That’s a controversial query, to say the least, and it provides much food for thought and a topic for long discussions. The drama in this story is terrifying and tragedy is expected, but that makes the humor feel strangely inappropriate. The audience instinctively knows that there’s bound to be more tragedy to come and we’re continually on our guard with every laugh. Because, as Chekov wrote, if a gun is seen in the beginning of a play, then it eventually must be fired. That gunfire is only a matter of time.  

Somewhat Recommended

Reviewed by Colin Douglas

Presented February 11-March 12 by Broken Nose Theatre at the Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are Pay-what-you-can, and available in person at the box office, or by going to www.brokennosetheatre.com. or www.thedentheatre.com.

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