Hungry Like the Wolf, History Theatre's new play written by actor-turned-playwright Sandra Struthers (original cast-member of their smash hit musical
Glensheen), is a delightful mash-up of so many ideas. Growing up in the '80s, a historic bank strike for equal pay, a Hollywood legend, domestic abuse, Duran Duran, and so much more. Sometimes when a play includes so many ideas, it can feel like it's trying to do too much, like some things are never fleshed out. But that is not the case here; this play succeeds brilliantly in weaving all these things together, using many different types of storytelling to great effect, in a wholly satisfying way. It achieved my favorite thing in any entertainment - it made me laugh, and it made me cry. And although much of it is set in the '70s and '80s, it speaks directly to today, when so many of us feel hopeless, when it feels like the fight for a better world will never end. It shows us that we've gotten through tough times before, and we will continue to do so, if we work together and stand up for what's right. But that sounds preachy, which this show definitely is not. It's messy and goofy and vulnerable and inspiring. It's a play that defies description and is its own thing, telling this story, these stories, in an inventive and innovative way.
Head to downtown St. Paul now through April 12 to experience this mashup of history and present, pop culture and social justice.
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Sandra Struthers, Jen Maren, Jen Burleigh-Bentz, Allison Vincent,
and Sam Landman (photo by Rick Spaulding) |
Playwright Sandra Struthers has written herself and her story into this play, and also plays herself. In a meta theatrical way, she tells us about the experience of writing this play, of discovering the story of the "
Willmar 8," a group of eight female bank employees in Willmar, Minnesota who went on strike in 1977, demanding they get paid the same as their male colleagues (what a novel idea!). She tells us about the documentary about the Willmar 8, and the cheesy '80s TV movie based on their story, both directed by Oscar-winning Hollywood actor
Lee Grant who, like the playwright, turned to telling stories when she wasn't getting as many acting jobs. And she shares stories of childhood trauma, and how that intersects with all of these stories. With the help of four amazingly versatile actors, Sandra covers all of this in 26 scenes (the title of each projected onto the large on-stage screen) with movie reenactments, storytelling (at a mic stand), scenes from her childhood, scenes of the strike, a warped game show, fantasy scenes involving her '80s-era crush Simon Le Bon of Duran Duran, a bit of audience participation, and a reenactment of that time she actually met Lee Grant, now well into her '90s.
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Jen Maren, Sandra Struthers, Allison Vincent, Sam Landman,
and Jen Burleigh-Bentz (photo by Rick Spaulding) |
Laura Leffler (newly named History Theatre's Artistic Director) directs the play and somehow manages to keep all of these plates spinning as we leap across time and space, fantasy and reality. Sandra has written a really complicated script that just doesn't follow the norms of playwrighting, and Laura makes it all make sense and achieve the greatest possible impact. In addition to Sandra, who does a beautiful job playing herself at various ages, and being completely vulnerable as well as funny, the four-person ensemble nimbly does whatever is asked of them. Among many other roles, Jen Burleigh-Bentz is Sandra's French mother and the glamorous Lee Grant, Jen Maren is a ditzy striker in the movie who was actually the eloquent spokesperson of the group, Sam Landman gamely plays all of the jerky men in the story, and Allison Vincent uses her skills in physical theater (including the best stunt falls) in her many roles, highlighted by a hilariously pompous Simon Le Bon. This is really a dream team of players.
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strike! (Sandra Struthers, Allison Vincent, Jen Maren,
and Jen Burleigh-Bentz, photo by Rick Spaulding) |
The all-female design team has the difficult task of bringing all these disparate scenes and locations to life, and accomplishes it in a fun and clever way. The set is dominated by a huge TV screen upon which are projected images, videos, song lyrics, and a fun (and also not)
Wheel of Fortune game. One side of the stage houses a replica of Sandra's childhood bedroom, the other an office setup. The design has a great '70s/'80s feel, including the fun props and costumes. Sandra is dressed like an '80s teen in a graphic T (of her crush, I'm assuming), plaid shirt, and jeans, the striking women in proper office attire (trousers and blouses). The soundtrack played at appropriate times throughout the show may have you singing along (like the person sitting next to me) if you're of a certain age. (Scenic design by Sarah Bahr, costume design by Rubble&Ash, lighting design by Karin Olson, props design by Ursula K Bowden, video design by Leslie Ritenour, sound design by Montana Johnson.)
Hungry Like the Wolf is a play that, on paper, shouldn't work, but in reality, as brought to life by this talented cast and creative team, absolutely does. It works as a nostalgia piece, it works as personal storytelling, it works as history, it works as an outrageous comedy, it works as social commentary. To that last point, it reminds us that the Willmar 8 were not trying to make history, they just wanted to do their jobs and be fairly compensated so they could support themselves and their families. Lee Grant wasn't trying to break the glass ceiling as a female director in Hollywood, she just wanted to work and tell stories. So many people who have changed the course of history and paved the way for people to follow in their footsteps were just trying to live their lives in an authentic way, to stand up for themselves and others against the forces trying to keep them down. This show gives me hope in a hopeless time that little by little, two steps forward and one step back, progress will continue to be made as long as good people keep trying. A small group of women in rural Minnesota, a director and producers who told their story to the world, and the team at History Theatre who is continuing that story and adding to it, they all shine a light in this ever-darkening world, a light of justice and truth, equality and community.
