Tie-dyed shirts, patchwork pants in many colours, flares and idealism were ripe at the time this world premiere by Yale graduate Ali Viterbi starts its life cycle. Spanning the years 1975 to 2000, Deadheads follows the fortunes of a couple who met while still in school.
Ethan (Rian Howlett) was 18 and Sadie (Sophia Simmons) a year older as they began their counterculture lifestyle. They fell madly and deeply and passionately in love and wanted to be together forever. It was an era of free sex and drugs and rock ‘n roll and the pair took full advantage. They had the same pet name for each other – “Homey”. He was Jewish, a narcissist and “experimenter” that made it clear he wanted to be able to roam freely (they live in a tent for year after year, following the music of the time) and didn’t want any children. Responsibility was anathema to him. At first she was wide-eyed and innocent and willing to go along for the ride. But she grew up. She would have liked to settle down and raise a family. The arguments became more frequent and she came to realise she couldn’t change him.
This is their story, told in vignettes through 1975, ’80, ’85, ’88, ’92, ’95 and an epilogue. The passage of time is revealed to the audience by the use of creative props – a flag, a supersized mock joint, a cookie crate, a paper sailboat, a cassette tape and a sheet. The set, designed by Scotty Wings and Alicia Wilson, has the look and feel of a camping ground with a washing line laden with clothing strew across it. I really liked it and responded to the “vibe”. Apart from the two central players, four other actors kitted out in ‘70s attire, add to the atmosphere, although they don’t contribute to the dialogue-heavy script.
After an initial surge of excitement at the trip down memory lane, all that went through my head in the first 15 minutes or so was that this was a load of nonsense – airheaded philosophising about … well, nothing much. Part of this view was drawn from the fact that I wasn’t clear on the year in which we were meant to dealing. You see, in that initial salvo the play starts midway through and then goes back to where it all began. I know that this is a regular device used in theatre and film, but here a straight linear narrative would have been far more useful and much easier to follow. Fortunately and thankfully, when it did revert to a traditional structure I really started to invest in the characters, to care about what happened to them, especially her, because she was the one left unfulfilled.
Sophia Simmons does well expressing Sadie’s frustrations, while Rian Howlett tries repeatedly to channel Ethan’s “it’s not too late for anything”, “why are you getting so het up” bulls**t, while smoking himself silly. In fact, be aware there is liberal use of herbal cigarettes throughout the production and the smell and smoke generated aren’t pleasant.
Before it is over you cotton on to the fact that love will only get you so far and then reality will intervene – even if the connection between this duo will never be broken. We mighty want a happily ever after, fulfilling all that promise ending, but that would be akin to recognising the tooth fairy and Father Christmas actually exist.
Direction comes from Scotty Wings, traditionally a comedian and performer, who makes his directorial debut. He and writer Viterbi have given us an ultimately enjoyable if unfulfilled journey of discovery and reminiscence that started out with such hope. Deadheads, which has a running time of 70 minutes without interval, is playing at The Owl and Cat Theatre, 34 Swan Street, Richmond until 1st July.
Alex First
David Edwards is the editor of The Blurb and a contributor on film and television
