Xenophobia — the fear or even hatred of those from whom we are different — is all around us these days.
You find it in this country, Europe and in a terrifying conflict In Ukraine perpetrated by Russia.
And it is dealt with head on in The Rogue Theatre’s compelling production of Christopher Chen’s “Passage.”
But no worries — we aren’t lectured to. We are made to think. Could we ask for anything better?
Chen framed his drama around E.M. Forster’s novel “Passage to India.” Sure, there are parallels to the book — the caves show up in both, and if you’ve read “Passage to India” you will see echoes of some of Forster’s characters.
But, as our narrator for the evening tells us, if you’ve read the book, forget it. “This isn’t his story but our story,” she says. “And by ours, I mean all of us here in this room, right now.”
Chen wasn’t pointing fingers at any one country or person; he wanted to keep it as neutral as possible. Hence, characters are given letters rather than names; the same with the countries.
It might get a tad confusing at first, but one quickly gets into the anonymity of it and it forces us to stay neutral, at least for a time, about the countries and characters.
The story takes place in country Y and the play quickly gets into the us-them discussion. “Is it possible to be friends with a country Y citizen,” asks the wealthy H (Andrea Roberts) of her friends and fellow Xians M (Hunter Hnat), who has joined up with a country Y corporation, and B, a brilliant doctor (Carley Elizabeth Preston).
What follows in that scene and in many others are discussions and assumptions about where people are from, what they think and how good, or bad, they are. And the awful consequences of that kind of mindset.
It’s not off-putting. We are easily seduced by the smart and sometimes outrageous conversations.
Christopher Johnson directed this with a sure hand; he made what could be confusing clear.
The ensemble cast helped: Roberts, Hnat and Preston were joined by Jeffrey Baden, Bryn Booth, Matthew Lai, Joseph McGrath and Rosanne Couston. They made sure we never lost sight of the discussions or the characters. Impressive work all around, especially by Couston as G, our narrator, professor and a holy woman. Couston has a voice that exudes warmth — when she invites you to join her, you can’t refuse.
The Rogue always effectively incorporates music. The pre-show music for this production was made up of the national anthems of Yemen, North Korea, Belarus, Tibet, Crimea and Ukraine. It was a moving reminder of what’s at risk around the world. Music Director Russell Ronnebaum always surprises and delights with what he adds to an experience at The Rogue.
In this production, the costumes are minimal and the stage is almost bare save for a wooden platform in the center. The stage divides the audience — half on one side, half on the other. Sure, there were a few self-conscious elements to the production, but none of them were ever annoying.
What stays with you after you’ve left the theater is that us vs. them theme — xenophobia and how we might embody that. It makes you think. And that is theater we need.
