damaged goods
by Douglas Messerli
Rajiv Joseph Gruesome Playground Injuries / Los Angeles, Hudson Theatres, the
production I saw with Howard Fox was on June 5, 2016
Last performed in Los Angeles at
Rogue Machine Theatre in 2014, Gruesome
Playground Injuries has been
revived in the current Hudson Theatre performance, staring Sara Rae Foster and
Jeff Ward, which again demonstrates the power and limitations of Joseph’s
writing.
Unlike his excellent Bengal Tiger
at the Baghdad Zoo (see My Year 2010),
with its international scope of war and general madness, Gruesome Playground Injuries is a small play that turns inward,
focusing on just two figures, Kayleen and Doug, over a period of 30 years.
Like many children after playground injuries, Doug brags about his
bloody encounter to Kayleen, claiming it doesn’t much hurt, etc. It is an
almost insignificant encounter, except for the fact that he asks her to touch
the wound which seems to help relieve his pain and begins a kind of gentle
relationship between the two.
At age 23, however, when we next see
them together, the accident-prone Doug has blown-out his eye which will force
him to wear an eye-patch for the rest of his life. Once more the two talk
insignificantly, but the very meeting seems almost to rejuvenate the suffering
young man.
We can understand some of Kayleen’s
difficulties: her mother has left home early in her life, and her father
clearly detests his daughter. Yet Doug’s slow self-immolation is a bit more
difficult to explain. His mother seems like a typically kind Midwesterner who,
upon the death of a loved one or another emergency, immediately brings “over a
casserole.” Perhaps it is the very ordinariness and unimaginativeness of his
home life that leads him to take such reckless actions.
If nothing else, they have shared a
sporadic relationship, entering in and out of their lives—despite other
boyfriends and fiancées—to offer some solace to one another, even if the
brevity of their visits cannot sustain them for long.
One can imagine, in other hands that a
kind of sentimentality, such as that of Arthur Laurent’s film The Way We Were, might have easily crept
into the script. But Joseph, although using a similar, “the years go by” kind
of structure, while resisting a chronological pattern, allows the audience to
gradually begin to comprehend their odd relationship without becoming deeply
invested in any romantic intentions.
If Gruesome Playground Injuries,
accordingly is not a great play, is an interesting one, demonstrating some of
Joseph’s many writing talents in presenting characters trying to survive in a
world so ready to destroy them.
Los Angeles, June 6, 2016
Reprinted from USTheater, Opera, and Performance (June 2016).
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