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Monday, January 17, 2011

REVIEW: “THE HOW AND THE WHY” @ McCARTER THEATER

If you are a fan of the HBO series In Treatment, you know that Sara Treem is adept at writing snappy dialogue that plumbs the human psyche. Those skills are fully evident in her new play, The How and the Why, currently receiving its World Première in an astounding production at McCarter Theatre in Princeton, starring a seasoned pro and an exciting newcomer.

the_how_and_why_014Emily Mann's taut directorial style keeps a firm hand on the complicated scientific dialogue, without losing the poignancy of the situation. It seems that Zelda Kahn, a 56-year-old evolutionary biologist at a large university, is visited in her office by her 28-year-old daughter Rachel, whom she hasn't seen since she gave her up for adoption six days after birth.

Contrary to what we'd like to believe about such reunions—that they are welcome and welcoming—this one is filled with unasked questions and stumbling attempts at intimacy, the former on Rachel's part and the latter on Zelda's. As if this isn't complicated enough, Rachel reveals that she, too, is an evolutionary biologist (a grad student at Columbia University, where Zelda did her post-college work, no less), working on a hypothesis related to the one for which Zelda won a prestigious award at the age of 28.

Lest all this sound too coincidental, scientific proclivities are often inherited, so it isn't so far-fetched that the two are interested in the same branch of science. In fact, Rachel says that since her late adoptive parents were "genetic strangers," she decided to study the entire human race! What is interesting, however, is that Zelda studied why menopause exists (The Grandmother Hypothesis) while Rachel is researching The Evolutionary Necessity for Menstruation, both subjects fraught with gender politics and not unusual for feminists to pursue.

the_how_and_why_155However, the real underpinnings of the scientific repartee lie in the emotional and physical connections these two women share. While Zelda is more open to having a relationship with her daughter and, in fact, little by little opens up her past to reveal the answers the young woman seeks, Rachel's anger almost derails any relationship with her mother, not to mention her career as a scientist. That the two reach a rapprochement in the final moments, sans sentimentality and bathos, is a tribute to Treem's skill as a playwright.
On a beautiful, evocative set—a messy professor's office and a corner bar—designed by Daniel Ostling, two actresses show their skill. Mercedes Ruehl is convincingly attractive as Zelda. Nervous at meeting her daughter, she flutters around the office, walking from desk to chair to bookcase, as though she can't seem to find a place to put herself. She ferociously confronts Rachel over the latter's desire to share her work with her boyfriend Dean; although she divines Rachel's insecurity and desire to use her work as a way to keep him interested in her, Zelda focuses on her daughter's strengths instead of pointing out her timid acquiescence to traditional gender roles. And when she finally reveals several secrets, Ruehl's Zelda matter of factly eschews a plea for sympathy from her daughter. She's a pro and a joy to watch.

the_how_and_why_ROUSThe other partner in this dance, Rachel Hardeman, is played by Bess Rous in a performance that says she has a bright future ahead of her. The embodiment of sullenness, Rous's Rachel is tightly wound, scared, sure that her idea will "change everything," but quick to feel abject humiliation when criticized at a conference where she presents her hypothesis. She can be cruel (she tells Zelda that the Grandmother Hypothesis is wrong) and needy, sometimes within the space of a few minutes. Rous is always in control of her character, whether she be having a fit of weeping or a panic attack; she is always believable. This is one young actress to keep an eye on.

Both Ruehl and Rous do a fine job reciting dialogue dense with scientific terms and fraught with unspoken longing, and the fear and sadness of abandonment. Treem has written a riveting play that showcases their talents, raises interesting, thought-provoking questions about research relevant to women's health issues—most of it done by men, often with disastrous results—and just what each party in cases of adoption should expect from the other, if anything.

The How and the Why unfolds beautifully, layer by layer, with several revelations that blindside the audience's expectations. It is funny, sad, hopeful, all at the same time, and should not be missed.

The How and the Why will be performed at the Berlind Theatre of McCarter Theatre Center, 91 University Place, Princeton, through February 13. For information regarding performance dates and times and ticket prices, call the box office at 609.258.2787 or 1.888.278.7932 Visit the Event Calendar to view the Event Calendar or search for a specific event. Once you select your event, you will be able to purchase tickets online in real time.