The pre-tour revival of Carol Lynn Pearson’s new play, Facing East, opened yesterday at the Rose Wagner Center in Salt Lake City. I went to see it tonight with my ex-girlfriend Anni, and we both enjoyed it a great deal, from our different perspectives. I laughed and cried, and cried some more, and left the theater feeling drained, yet ebullient, as if I had just accomplished some monumental feat. To extend the feeling, I bought the playbook with Pearson’s original script, and when I got home, I got to experience the play again in my living room. If you can’t attend a showing, either in Salt Lake over the next few weeks, or in New York or San Francisco over the next few months, I highly recommend purchasing a copy of the playbook from Carol Lynn Pearson’s website.
The play is fairly minimalist. The only props and set decorations are a few flowers, a couple of handkerchiefs, a purse, two chairs, and a hole in the middle of the stage. The cast consists of three actors who together play four characters.
As the play opens, Alex McCormick is grieving at the graveside of his son, Andrew, after the other mourners have left. His wife, Ruth, arrives, and he tells her that the service they just sat through was a lie: neither he, nor she, nor any of the attendees knew their son. Over Ruth’s protests, Alex decides to hold another funeral service, this one a true one, there on the hillside with the trees as an audience.
The truth that no one at the funeral was willing to speak is that Andrew was gay and living with another man, and that a few days before, he had committed suicide on the grounds of the Salt Lake Mormon Temple. Alex and Ruth discuss their son, their relationship with him, and the devastating possibility that they were to blame for his homosexuality, his suicide, or both.
About two-thirds of the way into the 75-minute play (or on page 34 of the 53-page script), after Alex and Ruth have talked themselves to an impasse, their son’s gay partner Marcus comes to the gravesite. He has timed his arrival for when he thought the service would be over, the friends and family departed, and is embarrassed to run into Andrew’s parents, whom he has never met. He reluctantly joins their conversation, and tells them about a side of their son that they never knew: about the love Marcus and Andrew shared as a couple, and about Andrew’s desperate longing for the absolution and acceptance he felt he would never deserve.
Andrew, the fourth character, is present throughout the piece in the intersection between the other three characters, in the specter of the open grave, and in the beauty of the cello solos that occasionally intrude on the narrative. He participates in the dialogue, unseen, through a series of flashbacks: in his mother’s memories, he is voiced from the darkness by his father, and in his father’s, by his mother. At last he appears in the flesh in the guise of Marcus, in the memory of a camping trip the two men took together not long ago, when they were purely happy and in love.
The play ends with many questions posed, but unanswered. Who was to blame for Andrew’s death? What should religion and the religious do about the very real problems that face homosexual members? What can those on the outside of a religion do to help people who are struggling inside? But one message is completely clear: everyone needs and deserves love and intimacy. It is not right to love the tree and hate the blossom—celibacy may be possible, but “trees find springtime hard to resist.”