Watching Dana H. is like taking a trip to hell and back. The play, written by Lucas Hnath, tells the harrowing story of his mother’s life. She is impersonated by the actress Deirdre O’Connell, who, clad in red and black, sits on stage being interviewed by an unseen Steven Cossen. O’Connell lip-synchs rather than speaks Dana’s lines, timing perfectly every move of her mouth and body. It is a seamless, remarkable display of acting talent. The tale she tells is from the dark side, replete with violence, brutality and rape. A prison chaplain with a compassionate heart, Dana and her then-husband took into their home a recently-released criminal named Jim. The idea was to provide him with sanctuary while he transitioned to civilian life. That Christian act nearly proved fatal. Jim, a sociopath with a glib manner, attached himself to Dana, coming to her for help long after his temporary stay ended. By then Dana’s marriage had ended as well; now single and vulnerable, she fell under Jim’s spell and was brainwashed by him. For months she traveled with him, going from motel to motel in the south while he carried out “jobs” on behalf of the Aryan Brotherhood, the gang that controls prison life in the USA. Holding up banks, killing on demand, beating up informers, Jim did whatever dirty work the AB asked of him, managing at the same time to keep Dana cowed and obedient. When, finally, she did rebel and try to break free, he beat and raped her unmercifully. She went to the police for help but they refused to get involved; evidently the cops are just as afraid of the Aryan Brotherhood as we are. Dana O’Connell recounts this chilling tale in a low-key, hesitant manner; the act of remembering for this trauma victim is a difficult thing. Sometimes she refers to an autobiographical manuscript, but even then it’s clear that she’s an unreliable narrator. This brings up the question of whether her personal story is fact or fiction. Chances are it’s a mixture of both. What is completely believable is the last section of her 75-minute monologue—the only other character who appears briefly on stage is a silent motel chambermaid, which is titled “The Bridge.” In that section, Dana talks about her job as a hospice worker (which she started after Jim’s death). Able once again to display her compassionate, Christian side, Dana brings comfort to the dying and makes bearable their last days on earth. Dana H. is a remarkable play, a departure from the norm, powerful and mesmerizing from beginning to end.
