Posted on 27 April 2010.
Monica Pajdak
Staff Writer
This past week, the Rutgers-NJIT theatre program held its production of Autobahn, by author Neil LaBute. Directed by Louis Wells, the play featured a series of seven scenes taking place between pairs of actors.
Each scene begins in the middle of a conflict and then progresses to slowly reveal the exact nature of that conflict and the history of the characters affected by it. This structure is not entirely unfamiliar. I can’t say how many times I’ve sat in the front seat of a car with someone I was in the middle of an argument with only to be subject to a kind of forced development to the situation that, no matter what, fell short of resolution.
Such development without resolution is exactly what we see in Autobahn, and even though the conflicts in the play are much darker and squirm-inducing that your everyday squabble, the arrangement does make the wild circumstances presented in each skit relatable.
Neil LaBute once said, “Hidden in the back seat of a sedan, I quickly realized how deep the chasm or intense the claustrophobia could be inside your average family car.” Deep chasm and intense claustrophobia are exactly the feelings clearly portrayed by the cast in each of the situations presented.
In the scene “Funny” viewers see the development of a relationship between a mother (Janelle Zapata) and her drug-addict daughter (Sam Glovin), who sharpens the divide between them by openly admitting that she would do everything in her power to relapse while nobody listens to the mother cry wolf.
In “Bench Seat” claustrophobia kicks in as a young man (Scott Kesselman) finds out about the psycho-stalker activities that his girlfriend (Jessica Santos) engages in with the last guy who dumped her.
In “road trip” we see a Driver’s Ed. Instructor (Jonathan Noto) taking his teenaged student (Marjani Smith) off to a cabin halfway across the country, who in her helplessness can do nothing more than sleep it off in the front seat until the car ride is over and she has no choice but to face the circumstances.
The striking scenarios in this play are nothing less than of the highest impact, and the actors’ abilities to fully and effectively convey their stories with little more than dialogue, silence, and a limited amount of time really attests to their skills as artists.
Considering other aspects of the play’s execution, mostly everything was done very well. The stage was set up with a movable, makeshift car behind which was a projection of footage of the road traveled. I can’t say I always followed the decision made with the footage.
For the most part, the settings established in the film were fitting to the scenarios, but one of the playlettes has a sort of split screen film behind it that sometimes matched up between sides and sometimes didn’t. I didn’t exactly understand the stylistic choice there, and it was a bit distracting, but otherwise all was well with the lighting and effects.
As usual, the set design was very immersive, with some props spilling over into the house, drawing the viewer s in all the more into the scene. I also really enjoyed the music and sound choices.
All in all, the production was very well executed and had a lot of impact. As any good production should, the show left me thinking about the plots and theme long after the play was over.
Mike Nusspickel
Web Editor
The NJIT-Rutgers theater group hosted a short play cycle by the name of Autobahn by Neil Labute over the weekend, an interesting and deep play that isn’t for everyone. Those who would enjoy it, however, will find it deep and extremely meaningful, and I applaud the theater group for yet another masterfully put on production.
You walked into the theater not quite knowing what to expect, finding yourself looking at a rather plain set with unusual pieces, with random car parts strewn about, and a mock front seat in the center, and this is where the entire play cycle takes place. Autobahn is not a play in the typical sense of things, in that its more a series of short stories, all taking place during a car drive, as the notes put it, ‘halfway from where they’re going from.’
What this setting allows is a highly realistic look into a situation we’re all familiar with: conversations in a car. There is something about this setting that we can all relate to, the idea of being trapped in a conversation you can’t get out of. What Autobahn does is drop you into these conversations with no context, the context of which you discover as you watch, learn, and listen to the characters, watching intently.
The show alternates between monologues and dialogues, although the monologues are not true monologues in that they’re talking to someone, who is simply either silent or whose response is unheard, and given only through expression. Our first glimpse, for example, is of a young woman speaking with a driver, whose relation is unknown to us at first. Is it her sister? Her mother?
As the speaking woman continues, we learn our first bit of context, in that she is being picked up from somewhere by her mother. Where, again, is unclear, vague just enough for the imagination to start up, and put in some of our own context, until we are given that last bit of information that it is some sort of rehabilitation center.
This sort of subtle introduction of the context of the situation we’re dropped into repeats itself each time, working in different fashions, such as the dialogues, which give us the information at the pace of two people interacting in the way we’re used to.
For example, the second dialogue gives us a scenario where a rather nonchalant woman appears to have been raped and is discussing with her husband, but we learn more and more through the drive that she not only consented, but that it was, in fact, not the first time such an event had occurred.
Although, even during the dialogues, each character has some quirks that we’re not used to, and facts are revealed more and more as the play goes on in a masterful portrayal of the darker side of the human condition. What you watch isn’t a play with much of a story, but people, with problems of the everyday, and issues that range from the simple to the deep, complicated, and sometimes utterly disturbing.
The play simply needs to be seen to truly understand, as it is not something with a simple plot, or a simple way of telling its stories. It uses language and body language as its defining features, something not usually found in plays where you have multiple characters, an arcing story, and a simple formula to follow.
The NJIT-Rutgers players once again wowed me with their ability to do a range of emotions and in this case a play that was so unconventional it impressed completely. I highly recommend the play as a read, and if you can ever find the play performed, to see it, if only for a change of pace.
Monica Pajdak is a Biology sophomore and can be reached at mpajdak@njitvector.com
Mike Nusspickel is a Computer Science sophomore and can be reached at mnusspickel@njitvector.com