Survival in the Dust Bowl

Black Sunday

A subject of so many excellent works of art, survival during the Great Depression and, especially, during the Dust Bowl, has been examined from many perspectives. From John Steinbeck’s The Grapes of Wrath, to the musical poetry of Woody Guthrie, to Dorothea Lange’s stark b&w photography, such as her moving “Migrant Mother,” the sorrow and tragedies of the early 1930’s has been potently portrayed. Today, TimeLine Theatre’s 2023-24 season concludes with another work of art, a World Premiere by Chicago playwright, Dolores Diaz.

Set in 1935 in the Texas panhandle, a rural family huddles together trying to weather the storm. Ma and Pa’s wheat crop has long since succumbed to the damaging, over-farming of the land. Then came the drought, made even more unbearable by the high winds that whip across the dry plains, and caused their hovel to be filled with dirt. Grit and dust are everywhere: on the windowsills, the floor, the furniture, the stove and even in their food and makeshift bedding. Dirt covers their clothing and shoes; it’s in their hair, mouth and eyes. Water is as sacred and scarce as gold, and it’s dangerous to go outside to even use the facilities. The family’s taken to using an old can and quickly emptying it outside the door. It’s a world filled with misery, hopelessness and endless despair.

Complicated by the months and years of endless drought and dust storms, and adding to their misery, the family’s suffering deeply from mental and emotional issues. First, Ma and Pa’s young son recently passed away, but there’s no time for mourning. He’s buried in a shallow grave somewhere on the windy plains. No one is allowed to even speak his name. 

Ma is driving her husband and daughter crazy with her ranting and raving. Like a Dust Bowl Cassandra, she believes she’s a prophet and can see the future in the drawings she creates, in which she uses any scrap of paper she can scavenge. Ma paints with the dust that she finds everywhere, mixing it with spit or a drop of water. The woman has great difficulty sleeping, troubled by bad dreams. The howling winds and Pa’s loud snoring keep her awake, although Ma hears women’s voices crying in his exhaling.

Pa has become maniacal. Understandably angry he’s turned violent from having to endure the driving winds, the dust and the destruction of his farm. His wife’s apparent lunacy doesn’t help, but then Pa isn’t a man who knows how to deal with his own or anyone else’s emotions. He’s lost his only son, all his crops have died and the farm is nothing but a couple of chickens. Herds of hungry jackrabbits and roaming packs of vicious coyotes take over the landscape. Pa vents his frustration by hunting down these destructive varmints and drags them into the house. Then the land becomes decimated by thousands of grasshoppers and locusts, scavenging for the last bits of vegetation.

Finally there’s Sunny, Ma and Pa’s restless teenage daughter. Trapped by poverty, the girl’s dire life, affected by the endless dust storm, is made fidgety and fretful by her parents mad behavior. In addition, Sunny’s raging hormones make her want to just go somewhere. When Ma asks her where, Sunny simply replies, “Anywhere,” which turns out to be California. Both Ma and Sunny consider a westward move to be to the Promised Land, but Pa’s determined to never abandon his property. Sunny is equally desperate for some kind of male companionship. She tries flirting with Jim, the young, disillusioned local pastor, and Jesus, a resourceful and empathetic Mexican American who immigrated  from California. Neither show her any interest so Sunny shockingly finds herself drawn to her own father.

Skillfully and passionately directed by Helen Young, whose excellent productions of TimeLine’s THE CHINESE LADY and WHAT THE CONSTITUTION MEANS TO ME dazzled audiences and critics alike, does a great job guiding this cast. The company of actors is first-rate. Prolific actress and director, not only with TimeLine but all over Chicago, Mechelle Moe is the star of this production. As Ma, Ms. Moe dominates the stage with her peppery and poignant performance. She certainly embodies a Depression Era Cassandra with her wild, wandering prophecies and plaintive cries. 

David Parkes is a talented TimeLine Company Member whose vibrant performance as Pa is fierce and finessed. His continual rage is fueled by the character’s inability to process and handle all the nonstop calamities taking place. Coping with how the land appears to be at war with his livelihood, as well as trying to escape from his wife’s lunatic rantings and his daughter’s crazy longings, Pa has his plate full.

Angela Morris creates a sensitive character who’s tried to make the best of a decaying world, navigating her way from childhood to young adulthood. But there’s little reason for Sunny to ever expect any kind of normal, fulfilling life. Fleeing to California from Texas may sound idealistic, but it provides the only ray of hope for this young lady’s future.

 Christopher Alvarenga is solid, if maybe a little quiet, as Jesus. This stalwart Mexican American farmer, who left behind a bitter past in California, is doing whatever he can to survive the brutal Texas environment. When the government heartlessly attempts to solve the nation’s economic problems with repatriation, it backfires and results in Jesus losing his entire family. Jesus survives by holding fast to a secret that theatergoers will learn about in the 11th hour of this drama. And as Jim,Vic Kuligoski plays the young pastor a bit over enthusiastically. Sometimes the actor, whose making his TimeLine debut, contorts his body in ways that appear strange and unnatural for this character. He nicely conveys Jim’s uncertainty over his chosen career as he prepares a sermon, as well as portraying his obvious repulsion to Sunny’s attraction.

Special mention must be made of the particularly fine technical artistry that makes this production come alive. Scenic Designer Joe Schermoly creates a simple, but effective environment that’s rough-hewn and ruggedly deteriorating. Beautifully enhanced by a dynamic Projection Design, provided by talented Anthony Churchill, as well as Conchita Avitia’s dramatic Lighting Design, this depressing story bursts to life. It’s further boosted by  Forrest Gregor’s exquisite Musical Composition and Sound Design, while Saskia Bakker’s challenging Property Design is absolutely jaw-dropping.

Dolores Diaz has crafted a compelling, 90-minute one-act that attaches a face to those affected by the Great Depression and their survival of the Dust Bowl. Skillfully directed by Helen Young, the playwright tells the story of one poor, white family during this traumatic period in our nation’s history. She also drops into their world a confused small-town pastor and a Mexican American immigrant, who’s, not surprisingly, the strongest character in this play. 

Inspired by her Texas upbringing, a push to teach about the Mexican Repatriation of the 1930’s in our schools, as well as being motivated by a powerful book entitled Decade of Betrayal, Ms. Diaz has crafted a particularly poignant and poetic drama. She also draws a frightening parallel between yesterday’s history and the devastating effects of today’s Climate Change and Global Warming. And making this production extra special, this production marks TimeLine Theatre’s final performance in the wonderful Wellington Avenue venue. Like the Okies of Steinbeck’s classic Grapes of Wrath and the characters in this play, who may possibly be moving onward to better things, so, we hope, is this wonderful theatre company.                     

Recommended

Reviewed by Colin Douglas

Presented May 8-June 29 by TimeLine Theatre, 615 W. Wellington Ave., Chicago.

Tickets are available by calling 773-281-8463 x6 or by going to www.timelinetheatre.com.

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