Challenging the norm in ‘Looking for Normal’
By Melonie Magruder / Special to The Malibu Times
How far can love sustain a marriage? At what point is “normal” a manifestation of truth or simply a concession to form? Is familial love a celebration or a sacrifice?
These questions and more are explored in Malibu Stage Repertory’s production of Jane Anderson’s play, “Looking for Normal.”
The comedy/drama, which explores the lives of a middle class, Corn Belt family whose father decides, after 25 years of marriage, that he wants a sex-change operation, was first presented at Los Angeles’ Geffen Playhouse in 2001. But its themes of the nature of unconditional love, self-identity and community expectations speak to social issues ripped from the headlines today.
Roy (Will Carney) is torn apart by a feeling he’s had since he was a young boy, when he was beaten by his father for dressing in girls’ clothing. Roy tells his preacher (Jimmy Hall), who cluelessly plumbs his Bible for answers to a congregant’s problem he has never encountered before, “By some accident, my soul has been displaced,” and “it’s morally untenable for me to continue being a man.”
Roy’s wife Irma (Nancy Little), a loving and loyal partner, is faced with multiple psychic stab wounds, from questioning her own role in her husband’s revelation and the loss of physical intimacy in her marriage, to enduring accusations of unwitting emasculation and the potential breakup of a marriage she has always felt was strong. Through her anger and anguish, she almost doesn’t know what to target. “There’s no way you’re a woman,” she cries at her husband. “Only a man could be so selfish!”
As Irma and Roy adjust to this new matrimonial conundrum, they begin to navigate the treacherous waters of social condemnation, from the furious reaction of their son, Wayne (J. Walter Holland) to the frank curiosity of 13-year-old daughter Patty Ann (Hailey Hoffman), who is beginning to question the indignities of her own budding sexuality.
Through Roy’s Grandma Ruth, speaking directly to the audience (a clunky narrative framing contrivance that was avoided in HBO’s 2003 film adaptation starring Jessica Lange and Tom Wilkinson), we learn that Roy’s “gender dysphoria” has genetic precedent. In a performance that brings strong sorrowful and focused energy to the production, Nathalie Blossom as Ruth reveals she abandoned Roy’s father in his infancy, repelled at the thought of motherhood, and fled to a life of wartime ambulance driving adventure, and lovers of all stripes and sexes.
Dressed in splendid male haberdashery, Ruth lists the considerable expenses of Roy’s upcoming sex-change operation. Citing the case of a friend who was once jumped by thugs for cross-dressing, Ruth angrily compares the $50,000 tab to blood money-something her grandson must pay, “just to avoid being beaten to death.”
In light of the furor over recent federal hate-crime legislation, named for Matthew Shepard who was murdered because he was gay, Ruth’s plea for charity in her own mea culpa is particularly wrenching. “I learned that most people would prefer to be shocked than enlightened,” she observes.
Of course, Ruth’s abandonment of Roy, Sr. is what has turned him into a sour, intolerant prig who abuses his family and demeans his own soul. As he descends into dementia, Howard Ferguson-Woitzman’s performance is heartrending. In his confusion, all is revealed. “I just want Mama,” he cries.
Roy’s gradual feminization as he and a menopausal Irma both take hormones is subtle, but striking. Developing breasts and sensitive skin cause Roy to declare, “I think I would know now how to be a proper lover to you.”
“Thanks, Roy,” Irma replies, as she helps Roy find a new wardrobe from a woman’s catalogue. “But I think it would have been easier to read a book.”
Ultimately, “Looking for Normal” is Irma’s story. Somehow accepting something you don’t understand is possible in deep, abiding love. When her pastor gives her permission to leave the marriage, Irma objects. “Walk away?” she asks. “Roy is my heart.”
This is Anderson’s message in the play.
“Pleasure should have no prejudice,” Ruth says. “True intimacy is innocent.”
“Looking for Normal” runs through May 24 at the Malibu Stage Company Theater, 29243 Pacific Coast Highway. Tickets can be purchased online at www.brownpapertickets.com or by reservations through the box office at 310.589.1998.