Underground Woman
Victoria E. Thompson is a brilliant writer and actress? Underground Woman, however, has problems. Inspired by that unique masterpiece, Notes From Underground, by Dostoevsky, her play is filled with all kinds of intellectual allusions and arguments attempting to dismantle the philosophical premises, accepted political beliefs, and socially viable standards by which society in general lives.
Delia, the main character, is driven by conscience, angst, and existential nihilism. She alienates everything and everyone around her. With specious argument she attacks her hypocritical life with her despised husband; she laments loosing her 1960’s idealism that instigated protests and marches, rebuffs her disappointing adult children, and rejects a society that penalizes illegal aliens, while condoning racism and war. We are bombarded with examples of the uselessness of psychotherapy; the ills of old age, and eventually witness the total disintegration of Delia’s faith even in her own sobriety. Indeed, too much is covered. The harangue becomes overwhelming and loses its potency.
The entire premise of Underground Woman is stated in the extremely provocative opening monologue. At the need of the play we are right back where we started, but know nothing more about what makes Delia so bitter. She talks a lot about the superficial externals of her life, but reveals nothing about her inner pain or its causes. We never see any vulnerability or ambition to achieve a better life. As the play winds down she has wiped away all that constituted her former life only to contemplate her future living under a bridge, all the while trying to convince us that her serious losses are victories.
At moments it seems that two plays are actually going on simultaneously; the casuistic denunciation and an absurdist sit com. The people surrounding Delia are presented in a rather cartoonish manner. We get a lot of laughs, but feel a definite clash with Delia’s one noted vehemence.
In Dostoevsky’s Notes from the underground a man is so driven by humiliation, isolation, despair, and hopelessness that he commits an extremely cruel act upon another person. We understand his torment and have compassion for him even as he self-destructs. But I am unable to find Delia’s redeeming quality? Without vulnerability or struggle to open her heart, the one noted diatribe, lacking variety or nuance, simply left me exhausted.
In spite of these criticisms, however, it was intellectually engaging and an enjoyable evening in the theatre.
Theatre Unlimited Studios
100943 Camarillo St.
North Hollywood
818-238-0501
Sept. 12-Oct 18, 2009
Fri. & Sat. 8 pm
Sun. 7pm