themes in Sympathetic Magic range
covery to illness, from the meaning
b abortion, and from science to art.
emes ate explored through the char-
d through their relationships with
her. The central relationship is
Andy and Barbara. Andy, an astro-
, and Barbara, a sculptor, are two
buccessful workaholics who have
their lives to their work and to each

e beginning of the play, Andy and
of scientists discover something that
e far-reaching repercussions for
y. This discovery goes hand-in-hand
uch more personal revelation for
e that will have far-reaching reper-
for him and for his relationship with

’s personal universe changes dramat-
en Barbara unexpectedly becomes
. Since having children is definitely
he couple’s agenda, Barbara decides
an abortion. Although Andy and
have always agreed they will not have
| the sudden reality of a life forming,
helped create, slowly changes Andy’s
stincts kick in, and Andy realizes that
motional level, he really wants the

Match 9/2005

Thus, Wilson spins the central conflict of
the play, the outcome of which is chaotic and
violent. The dark matter of the universe is
reflected in the very earthly decisions of

every- day life. This darkness seeps into the
consciousness of each character, and each, in
turn, must wade through it to find resolution.

Lanford Wilson is an incredibly prolific
and adept playwright. In Sympathetic Magic, he
manages to present complex, heavy subject
matter with a witty, sarcastic, and wry tone.
This juxtaposition of dark content and light
tone supports the play’s central conflict, but
in doing so, it makes the play incredibly chal-

lenging for the actors. They must dig deep

into the layers that the playwright provides
and subtly bring them to life through their
characterizations.

Rodgers is slowly helping the students

peel Wilson’s onion. Fortunately, she and the
cast have the time to meticulously unravel the
layers of the script because of an unusually
long rehearsal period. Rodgers says, “Coming
to New Westminster is like going to Europe.
I get to have three months to work with these
actors. So we were able to spend the first two
weeks at the beginning sitting around the
table and doing research. It’s amazing!” In
professional theatre in Canada, a play like this
would have a two- or three-week rehearsal

 

process. But Rodgers “can’t imagine doing
this show in three weeks, even with profes-
sionals and in professional theatre. It’s that
complicated and it’s that layered.”

Not only does the college experience pro-
vide Rodgers with a luxurious amount of
time for rehearsals, but it also gives her the
freedom to explore the play conceptually.
Sympathetic Magic is being presented in the
Performing Arts Theatre, which has a tradi-
tional proscenium stage (the typical flat-front
box with curtains). She says, “Every time I
walked into the theatre and looked at the
proscenium I kept thinking, ‘this doesn’t feel
right, this feels too flat for this world” And I
suddenly realized that I needed to create a
universe, and I wanted the audience to be i
that universe. So we’re doing it in the round
on the stage. The whole audience will be up
on the stage with the actors in this little inti-
mate space. The seats in the house will be the
ocean.”

Rodgers is amazed by the commitment,
zeal, and work ethic of the student actors.
When she agreed to take on this project, she
expected that she would have to do a lot of
teaching about the subject matter in the
play—about astrophysics, AIDS, art, and sci-
ence. But to her delight, the students had
already done a lot of research. They immedi-
ately brought ideas to her. Steve Baert, the
actor playing Andy, visited an astrophysicist
at UBC and asked lots of questions about the
terminology and about what happens in the
script. He had a good understanding of his
role even before Rodgers came on the scene.
Rodgers credits the instructors in the theatre
department with providing a fundamental
grounding in the work, and is impressed by
the level of professionalism of the students.

Rodgers believes, “People will be blown
away to see students doing this work. This is
a hugely exciting and challenging piece for all
of us in the room. I go home vibrating from
rehearsals, and I feel that from the students as
well. They are thinking, breathing, living this
world. They know that it’s out of reach right
now. They are continuing daily to get to the
place of this world that is so sophisticated, so
challenging, so raw. It’s exciting to watch. It’s
fun, it’s funny, and it has a rawness to it that
will be stimulating for the audience.”

With all their commitment, and with the
sure hand of Sarah Rodgers to guide them,
the students have a potentially sparkling
show. As difficult as the subject matter and
themes of Sympathetic Magic are, the tiny baby
steps they are taking in rehearsals will eventu-
ally add up to a leap into Wilson’s complex,
sophisticated, and multi-layered world—a
leap that will allow Wilson’s ideas to resonate
within the universe of each audience mem-
ber.

See Sympathetic Magic in the Performing
Arts Theatre at Douglas College from March
11-19 at 7:30pm. There is a preview on
March 10, and matinee performances on
March 14 and 19 at 1pm.

www.theotherpress.ca | 13