TheaterWorks Hartford adaptation of Amy Berryman’s Walden is set on edge of woods (photo by Christopher Capozziello)
WALDEN
TheaterWorks Hartford
RiverFront Recapture, 100 Meadow Road, Windsor, $95-$150
Livestream at Dunkin’ Donuts Stadium, Downtown Hartford, $15
Available on demand through August 29, $25
twhartford.org
One of the best new plays of the last eighteen months, Amy Berryman’s superb Walden is a cogent and timely exploration of loss, loneliness, and reconnection in an indeterminate near-future. Berryman started writing the play five years ago, concentrating on the devastating effects of climate change, and it debuted onstage at the Harold Pinter Theatre on London’s West End in May. It has now been ingeniously reimagined by TheaterWorks Hartford, taking place in a specially built wood-and-glass cabin on the edge of the woods by the Connecticut River at a location known as Riverfront Recapture in Windsor. The very small house has a sustainable vegetable garden on one side, a hammock on the other, and a cozy outdoor front porch.
There are three unique ways of experiencing the hundred-minute show: You can watch it in person, wearing masks, in socially distanced chairs on the grass, listening on headphones; see it with other people streaming at Dunkin’ Donuts Stadium in downtown Hartford, home of the minor league baseball team the Yard Goats; or check it out online, where it is available on demand. Do choose one, because Walden is an absolute must-see.
Bryan (Gabriel Brown) and Stella (Diana Oh) are living together in this wilderness; he is a staunch EA (Earth Advocate), a radical movement that believes the government must exhaust all possibilities of saving the planet before considering establishing habitats on the moon or Mars. Stella is a former prominent NASA architect who is adapting to her more private life with Bryan; they have a solar car, a flush toilet, and electricity, and Stella follows the news on a portable device, but Bryan refuses to use any kind of screen, living a Henry David Thoreau–like existence. Recently engaged, they each suffered different kinds of losses a year ago and are still dealing with the effects.
Cassie (Jeena Yi), Bryan (Gabriel Brown), and Stella (Diana Oh) spend time in the garden in Walden (photo by Christopher Capozziello)
After spending the last twelve months on the moon, where she miraculously made something grow out of the ground, Stella’s twin sister, Cassie (Jeena Yi), is coming for a visit. Their fathers were astronauts who also taught them about Walden, often quoting Thoreau. They remember him repeating to them, from the Solitude chapter, “This whole earth which we inhabit is but a point in space. How far apart, think you, are the two most distant inhabitants of yonder star, the breadth of whose distance cannot be measured by our instruments. Why should I feel lonely? Is not our planet in the Milky Way?”
Over the course of an evening, Bryan, Stella, and Cassie drink wine, share secrets, argue over technology, and debate not only the future of the blue marble but their own individual destinies as they contemplate where they belong in the universe. “It’s too late to turn things around!” Cassie declares. She’s right in more ways than one.
TheaterWorks Hartford’s first outdoor production in its thirty-five-year history, Walden is a seductive and charming play, no matter which side of the climate crisis discussion you are on. The isolation the characters feel, whether living in the woods or on the moon, is even more palpable in this time of Covid. When Cassie first arrives, she has a mask on. “You know, you don’t have to wear that,” Bryan says. “I wasn’t sure,” Cassie responds. “Within a hundred miles the air is totally safe. You don’t need a mask,” Bryan assures her. That’s something we would all like to hear.
The future of the planet is hotly debated in powerful new play (photo by Christopher Capozziello)
Walden is beautifully directed by Mei Ann Teo (SKiNFoLK: An American Show, Where We Belong) with a relaxed, easygoing pace that befits its lovely surroundings. I watched it online, where the cameras take you inside the house, into the garden, and onto the grass, where you can see some members of the masked audience sitting in front of you, making you feel part of set designer You-Shin Chen’s stunningly real and inviting environment. Jeanette Oi-Suk-Yew’s lighting evolves organically as darkness falls, while Hao Bai’s sound design immerses you in the action.
Berryman, a playwright, filmmaker, and actor who has written such shows as The New Galileos and The Whole of You and appeared in such works as Jessica Dickey’s The Convent and Greg Kotis’s Lunchtime at the Brick — her coronavirus microplay Pigeons for Eden Theater Company’s “Bathroom Plays” Zoom trilogy earned star LeeAnne Hutchison twi-ny’s Best Actor in a Short Play award during the pandemic lockdown — has given us an extraordinary treat in these difficult times, a splendidly constructed, wholly believable tale about where we are as a species today, and where we might be tomorrow.
Oh ({my lingerie play}, The Infinite Love Party), Yi (Judgment Day, Network), and Brown (Bobbie Clearly, Joe Turner’s Come and Gone) form a terrific trio, their well-drawn characters expressing serious contemporary concerns without becoming preachy or didactic. When it’s over, you’ll feel exhilarated by the return of live theater — and sincerely worried for the future of humanity.
