Going Backward Instead of Forwards 

Title X

Created back in 1970, Title X (Ten) was developed to provide women with three options they could choose from, regarding their own bodies and their personal health. If a woman found that she was pregnant, she could seek referrals for adoption services for her unborn child; she could make a decision for prenatal care services; or she could seek referral for an abortion.

Gifted playwright, actor and women’s activist, Julie Proudfoot founded Artemisia Theatre ten years ago because of her fierce passion for storytelling. In addition, Ms Proudfoot saw that there was a void in Chicago Theatre for women’s stories and plays that represented a feminist viewpoint. Then, two years ago, in response to former President Trump’s callous gag order of comprehensive counseling for pregnant women, Julie was moved to write this powerful play. Trump was clearly pandering to his anti-abortion/pro-life voters when he decided to prevent clinics from receiving any Federal Funding for safe abortion referrals. 

Now, with the Supreme Court’s reversal of Roe vs Wade, this country is, once again, in a passionate battle for Women’s Rights. Any past progress was made in this area during bygone years seems to be reversed and heading backwards instead of moving forward. It’s clear to anyone with a functioning brain that women should be able to make their own decisions regarding their bodies and their health. It’s not up to political parties and far-Right activists, especially dominated by conservative men, to decide what’s best for an individual.

This emotionally thoughtful play, co-directed by Julie Proudfoot and Willow James, presents that argument through a series of nine vignettes. Each scene introduces a different woman, loosely based on real individuals from different walks of life, who speak directly to the audience in an extended monologue. The first scene, set in 1978, is a strong, emotionally-charged opening for this drama. It’s a heartbreaking, empathetic encounter with a 17-year-old high school student trying to decide how to deal with an unwanted pregnancy. She’s all alone at a Manhattan Planned Parenthood Clinic where she imagines how her parents will react to her unexpected news. While telling her story, Rachel scours the clinic’s pamphlets trying to decide the best choice for her life. It’s a particularly affecting beginning to this one-act.

Throughout the ninety minute drama we travel back and forth through time. In the following scene we find ourselves on Capital Hill. It’s 2019 and a learned woman named Jill is delivering an impassioned speech to Congress. Then we jump back to 1988 where we encounter a young woman who’s part of a violent abortion clinic protest. The fourth scene features Kaya, an asylum officer conducting an aggressive interview at the Texas-Mexico border. In yet another heartbreaking monologue, while visiting her former college, a young woman painfully reminisces about a forced sexual encounter she experienced with one of her professors. 

Two more scenes introduce us to additional women. In 1989, a Nebraska matron, in the midst of a Right-to-Life Rally, shares her controversial point of view. Lill, a gay woman, relates how her life partner contracted HIV-AIDS, but chose to become pregnant and leave her a baby to remember their relationship. And the final scene is set two years ago. In this conclusion to Ms Proudfoot’s drama, Rachel, now a grown woman, looks back on all the choices she made during her lifetime that concerned her pregnancy and her health. It’s a profound ending to this poignant play and brings to story full circle.

The play is set on a sparse stage design by Charlotte Lastra. There’s just enough flooring, set pieces and simple props to give the audience an idea of each locale. Sam Stephen’s lighting and projections also help delineate location, while the costumes designed by Jessica VanWinkle provide clues to each character’s age, social status and the year in which they’re living. The astute direction by Julie Proudfoot and Willow James, who also created an appropriate sound design, is economical and focuses on the various characters.

The two actors who play the large assemblage of women in this play have a huge challenge. Not only must they create several different characters in alternating scenes, the actresses have an incredible amount of lines to memorize and deliver. Their lines have to appear as if they were the characters’ own actual thoughts. The most successful of the two actors is Melanie McNulty. An accomplished actor whose resume boasts a number of credits and theatrical talents, Ms McNulty is stellar in her portrayal of each character. It’s fitting that she both opens and closes this production, passionately playing so many women of different ages and experiences. 

Newcomer Kaitlyn Cheng isn’t nearly as successful in her performance. A few of her characters feel much too similar to come across as different, unique individuals. They also often lack the depth of emotional connection that we see in her costar’s characterizations. Additionally, at times Ms Cheng seems unsure of her lines. Upon making a mistake, instead of charging forward, the actress tries to correct her error. This only draws attention to it. This is unfortunate because Kaitlyn is a likable, appealing young actress. Perhaps with a few shows under her belt Ms Cheng’s opening weekend jitters will be conquered and she’ll provide a more grounded, confident performance. 

Artemisia Theatre has created all kinds of plays that empower women, regardless of age, race, sexual orientation, social or economical status or disability. In the past, Ms Proudfoot has presented some provocative, very exciting plays set in both the past, present and even the future. But none of them are as important, or speak to women about contemporary issues, as this important play. Definitely not a holiday entertainment, this is a thoughtful play that should be seen by everyone, women and men. It’s a presentation that fully examines the issues that continue to unfold in America today. And it truly shares the stories of so many women and amplifies every divergent voice.           

Recommended

Reviewed by Colin Douglas

Presented November 25-December 18 by Artemisia Theatre Company at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the box office, by calling 773-975-8150 or by going to www.artemisiatheatre.com.

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