(all photos by Kayte Deimoa)
As of August 27th, there had been 470 mass shootings in the U.S. this year. The largest mass shooting in U.S. history took place at an outdoor concert in Las Vegas in 2017. It had a record number of fatalities—58 dead, 867 injured—hopefully never to be outdone. Thoughts and prayers don’t help when you don’t feel safe going out to most places you once never thought were dangerous. McDonald’s in San Ysidro, CA in 1984 counted 21 dead. A Walmart in El Paso, TX in 2019 numbered 23 bodies. Pulse nightclub in Orlando, FL in 2016 had 49 fatalities. Movie theatres also seem to be a favorite location for target practice for a man with a gun. A lot of rage is directed at minorities—LGBT people in Orlando, Latinos in El Paso, Jewish worshippers in Pittsburgh and Poway, African Americans shopping for groceries in Buffalo. But why are places of education seemingly the favorite location for a man (or boy) and his gun. From Columbine High School in Colorado in 1999 (13) to Virginia Tech in 2007 (32), from Sandy Hook Elementary in Connecticut in 2012 (26) to Marjory Stoneman Douglas High School in Parkland, FL in 2018 (17) and Uvalde Robb Elementary in Texas in 2022 (21).
Surprisingly, there were no mass shootings announced taking place on August 25th, the evening International City Theatre opened the World Premiere of Wendy Graf’s Exit Wounds in Long Beach. There were three mass shootings reported on the 26th in far-flung locations—Massachusetts, Maryland and Florida. There was a shooting in Louisville that killed 2, injured 4 on August 27th, the day I had to pass through metal detectors to see Graf’s play about the aftermath of a school shooting. At first, I thought the metal detectors were a great p/r ploy but soon realized they were there for an event at the larger Terrace Theatre, next door to ICT’s Beverly O’Neill Theater.
Graf originally wrote her play in 2017 and it received a workshop production locally in Burbank, but the planned New York premiere proved elusive. Covid-19 further delayed the schedule, but the play is no less relevant in 2023 than it would have been in 2017. The ever-present media always make sure the public knows all the victims. Members of their grief-stricken families get microphones and cameras thrust in their faces repeatedly. The public always gets the lowdown on the perpetrators through their rantings in diaries or more commonly now on social media. They don’t get to say much on camera since most of them opt for suicide on site. But what of the gunmen’s families? The parents of an Adam Lanza, a Salvador Ramos, a Kyle Rittenhouse? The media manages to dig up some details and they may get their 15 minutes of fame (or infamy) but what happens next?
Graf’s play looks at one such family. It’s been 25 years since youngest son Ryan took his gun to school. He did not return home. His mother Linda (Suanne Spoke) has become a hoarder, living like a homeless person in her bathrobe; not on the streets, but rather in the squalor of her own home. Evidently, she still gets the occasional reporter at her door for she refuses to answer the persistent knock until the knocker identifies himself as her long absent eldest son Matt (Michael Polak). Matt and his father could not take the constant scrutiny after Ryan’s deadly actions and moved away, changed their names, tried to forget. With his father now dead, Matt has concentrated all his attention on his rebellious 17-year old son Danny (Hayden Kharrazi), comparing his growing antisocial behavior to what he remembers of the childhood of his kid brother. After Danny hacks his high school’s computers, is suspended and sentenced to community service, Matt seeks his mother’s help in reaching Danny before history repeats itself.
Is the killer instinct genetic? Is it handed down from generation to generation? Does home environment play a part in creating a psychopath? Linda didn’t notice any signs in Ryan, will she see similarities in Danny? If she does, will she be able to change his path? Graf asks these veiled questions in her play, but she doesn’t provide the answers. She hopes her audience will take the time, think about the issues, begin a conversation, perhaps even become politically involved. That is the jewel in the crown of great theatre. Entertain your audience, but also give them something to think about and maybe even act upon.
The entertainment value is high in ICT’s production. The direction by caryn desai is sharply focused on making sure the actors bring truth to their characters. Spoke has the lived-in quality of a woman who gave up on the world years ago. But a son and a grandson with potential problems give a renewed boost to her mothering skills. Kharrazi is a real find as Danny. He is quick to temper but also displays a frightened puppy demeanor looking for affection and understanding. Polak gives the leads strong support, making a solid base for this familial triangle. Scenic designer Yuri Okahana-Benson provided enough stuff to outfit a homeless encampment. Exit Wounds will leave you emotionally drained and hopefully ready for action.
www.internationalcitytheatre.org