For many, the title of playwright Paul Stroili’s script suggests the traditional gridiron rivalry between teams clad in Maize and Blue, and Scarlet and Gray. For some history buffs, the title might also bring to mind the 1835 boundary dispute between the states of Michigan and Ohio. Stroili’s delightful play, however, is not really about war on the football field or the battlefield.
Those fortunate enough to see My Mother and the Michigan/Ohio War, will likely come away with lasting memories, laden with laughter, of a present-day Michigan family and the skirmishes, as well as bonds of love, that endear its members to one another.
After the rousing salute, “Hail to the Victors,” and some awkward moments at the funeral of family patriarch Freddy Campbell, we find wife and mother Izzy, packing and downsizing for a move away from her long-time home to a recently purchased condo.
In her frank initial address to the audience, Izzy Campbell states her feelings about her two adult children assisting in the move. Although she tells us she doesn’t like them, we soon learn that a great portion of her life has been spent caring for them in every way that a mother can.
Izzy’s problem with her small brood? She is all too familiar with their imperfections and shortcomings. And we know what familiarity breeds.
Prior to their arrival, Izzy correctly predicts that slacker daughter Carey will liberally spike her soda with rum, while her son, neatnik Josh, will complain about the smell of her home.
These revelations and others hinted at among the boxes of belongings and mementos to be moved or discarded, indicate that this evening in the theatre has the potential for angry outbursts, territorial battles, and rugged rivalries beyond the ones found in college football.
As both director and playwright, however, Paul Stroili wisely uses a light and humorous touch when dealing with family altercations or emotional button-pushing. The key here is that although Carey and Josh sometimes push it to the edge, they are well aware of when to draw the line or when not to cross it with other family members.
If the siblings sometimes forget where that line is, then their mother, played in a commanding performance by Laura Jordan as Izzy, will clearly show them. The command referenced here is not so much command of children, as it is Jordan’s own command of the many roles her character assumes during the course of her ninety-minute tour de force.
These roles, flawlessly executed by Jordan with a tilt of the head, turn of the shoulders, wry smile, or sidelong take to the audience, require mercurial shifts and seamless transitions in character.
Roles related to the demands of motherhood, include widow, life coach, referee, cheerleader, downsizer, talent show consultant, housekeeper, and family record keeper.
Those related to Jordan’s connection with the audience include confidant, timekeeper, offensive language monitor, guide, and narrator to her own life-story.
The role of enthusiastic Michigan Historian could reside in both of the above categories given the inventive, improvised reenactment of the Nineteenth Century Toledo Strip boundary dispute with willing audience participants, and this event’s prominent place in Campbell family lore.
A role that Izzy does not greet with enthusiasm is the unwanted persona of family clown. Jordan’s character uncharacteristically explodes in an outburst of contempt and resentment at her mocking children. Although startling and surprising, Jordan crafts a moment that is believable and understandable within her character’s view of the situation.
Offspring Carey and Josh provide Jordan with plenty to work with in the way of spirited, stubborn offspring, who can be emotionally malleable and sympathetic when confronted with their mother’s true needs at a time of drastic life changes.
Caitlin Cavannaugh’s Carey viscerally embraces her character’s selfish side in squabbles about diet, football, and family games. She displays full commitment, menacing posturing and body English, when engaging in seemingly meaningless conflicts. She celebrates small victories with over-the-top contortions and bemoans setbacks with throaty growls and mock tragic rushed exits.
A more cerebral and reflective approach is undertaken by brother Josh, played by Brandon Foxworth. While he is adept at witty comebacks and hides behind a more rational mask than that of his sister, both Izzy and Carey know how to get his goat and thus expose his OCD, Campbell family shorthand for “Oh, Calm Down.”
The characters Cavannaugh and Foxworth portray exemplify Stroili’s successful use of humor in the play. The raucous laughter by the audience on the opening night performance I observed was more a product of the foibles emanating from the characters and their competitive, resourceful instincts for self-preservation, rather than clever words imposed upon them by the playwright.
Stroili’s consistent and appropriate use of humor endows each character with universal appeal. It also increases the likelihood that those attending “My Mother and the Michigan/Ohio War” at Farmers Alley Theatre will recognize a part of themselves or their family members among the Campbells.
My Mother and the Michigan/Ohio War runs until Oct 4 at Farmers Alley Theatre.
