Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, January 21, 1995 TAG: 9501230072
SECTION: EXTRA PAGE: 12 EDITION: METRO
SOURCE: KATHERINE REED STAFF WRITER
DATELINE: LENGTH: Medium
``It is not the intention of this production to take a political stand.''
It's easy to see why Zulia thought it necessary to make such a statement, but the fact is the play so effectively humanizes the abortion debate - the abortion war - that it is impossible to walk away not seeing both sides.
And that's a good thing at this point in the history of this conflict, when rhetoric and peaceful protest have escalated into the taking of lives.
This production of a play by Jane Martin, a pseudonym for a Kentucky playwright who has steadfastly maintained his/her anonymity, is well-acted and perfectly paced. There is no intermission, and just one quick set change in the play's two hours, but the intensity of the story and performances commands complete attention.
The play opens in a spartan room, somewhat like a hospital room, but it soon becomes completely clear that something very strange is happening to the ``patient,'' Keely (Kate Finlayson), who is brought in on a stretcher. She is in the care of a maternal-looking woman, Du (Beverly Brigham), who quickly tosses aside the unnerving plastic mask she has been asked to wear to obscure her features.
Keely has been snatched off the street by members of ``Operation Retrieve'' so that she can be forcibly persuaded to carry her pregnancy to term. Walter (Jonathan Bell) describes her internment as ``protective custody'' and attempts to indoctrinate Keely according to his ``pro-life'' views. Keely, who is pregnant as the result of a rape, is a formidable foe.
But the play isn't just about the debate, or it would not be as interesting as it is. It is about the relationship between two people - Keely and Du, whose differences seem to fall away as they are literally forced to listen to each other. As these two very different characters learn to love each other, the play's most important message comes through: Hatred obscures the humanity of both sides in the abortion debate.
There's even room for humor here, and some of Brigham and Finlayson's finest moments are the comic ones. Brigham, especially, seem most at her ease when delivering a funny line. Finlayson is consistently excellent, as is Bell, who is absolutely convincing as the nearly seductive ``true believer.'' Pete Burris as Keely's rapist-husband Cole has no more than five minutes on stage, but he is impressive as a no-good who has suddenly ``found Jesus.''
``Keely and Du'' treats with sensitivity and boldness one of the most volatile issues of our time. Zulia and company deserve a lot of credit for asking us to keep thinking and, especially, to keep listening.
KEELY AND DU runs through Jan. 29 at Mill Mountain Theatre B. Tickets are $10-$12.
by CNB