The challenges of caring for a severely disabled child form the nucleus of Joe Egg, which is being staged by the Milwaukee Chamber Theater. While a damaged child may not sound like the funniest of topics, make no mistake; this is a comedy, albeit with dark undertones.
It opens on a comic note as Brian, a world-weary professor, addresses the audience as if its members are misbehaving students in his classroom. It's 1968, in Bristol, England. Brian wins us over immediately with his boyish charm. His wife, Sheila, earns our admiration as she discusses the possibilities of what her daughter may become. "We are all crippled in some way," she reminds us. The child in question, Josephine, is a 10 year old who cannot control her body or her mind. Unable to speak or walk, her only motion is occasional spastic fits in her wheelchair. Since Joe has no personality, according to her parents, they decide to invent ones for her. This leads to some painfully hilarious scenes as the parents reenact their past experiences with doctors and priests. It is humor that saves them, ultimately, from despair.
There are many asides in this play, as the characters attempt to explain their inner thoughts or more fully explain things from their point of view. The audience can see that the time-consuming demands of caring for Joe is mainly in the hands of Sheila, to the detriment of her marriage. Brian wants to play, but Sheila constantly reminds him of their "duty" to their daughter. Guilt fuels some of Sheila's devotion, as she believes she may have unknowingly caused her daughter's condition. Brian, more practical, deals with his childcare duties in a more perfunctory manner. He teases his wife as if begging for her attention. Long ago, both parents have agreed against institutionalizing the child or resorting to euthanasia. This latter option may have been acceptable more than 40 years ago, when the play was written. But in the 21st Century, when such children are being "mainstreamed" into regular classrooms, such a choice seems unthinkable.
As the effects on their marriage become more obvious, they are starting to rethink these options. The juicy roles of Bri(an) and Sheila have been filled by some heavy-hitting actors in both New York and London productions. Here, we have a splendidly matched couple in Brian Vaughn and Mary MacDonald Kerr. They present a beautifully balanced portrayal of Joe's parents. They freely share their secret desires and hopes with the audience, and we are impressed by their courage as well as their sometimes-dark humor. In terms of dialogue, Vaughn delivers his British accent more consistently than Kerr does.
A pair of friends who unexpectedly drop by in the evening unintentionally weaken Bri and Sheila's now-fragile bond. The meddling couple's comments will ring true with anyone who had heard advice from a well-meaning but clueless friend. Freddie, the husband, is capably portrayed by Dylan Boylin. His wife, Pam (Jacque Troy), delivers a stand-out performance. Troy, a frequently seen local actor, has never been better than as the prim, unapologetic Pam. Her character refers to Joe in a demeaning way, knowing that the term is not currently acceptable. Afraid to even see Joe, she wants to flee to the safety of her own home and her own undamaged children. While this shocking behavior might nudge Pam toward being seen as the villain, Troy makes us resist this urge with her consistently upbeat manner. She is merely uttering another viewpoint of how to deal with Joe. Finally, a last-minute appearance by Bri's kind but dimwitted mother (Ruth Schudson) is all that Bri can stand, bringing the play to an unexpected conclusion.
As Joe, Anna Kopischke hits a bull's eye. Her jerky movements and lifeless poses are convincing. Production values are solid. Bri and Sheila's circa-1968 living room (the only set) is inviting in terms of its rich, muted colors, not to mention the menagerie of caged animals and abundant plant life. Costumes and lighting do an equally fine job of supporting the production.
