Some people who have suffered trauma shut themselves away to deal with their pain. Melanie Greenberg chose to turn her experiences into a one-woman show featuring original lyrics and humorous storytelling. Her solo piece, The Elephant in the Room, covers her very personal journey in search of her “tribe.” Her twisted and often tortured path from severely depressed childhood to performance-oriented adulthood took her to a family of well-meaning Texan Christians, a sadistic psychiatric center, a rotation of therapists and medications, and a ceremony featuring Ayahuasca, a drink made from a psychoactive plant. Though her story contains some chilling chapters, she delivers it very matter-of-factly. Balanced with genuine warmth and uplifting song snippets, what could be deeply disquieting becomes quite entertaining.
Greenberg sings her well-crafted lyrics with precision. The music is based on the Broadway shows that helped preserve her sanity and sense of humor over the years. Knowledge of Chicago, Little Shop of Horrors, Grease and Little Mermaid would add to your appreciation of the work, but that is not essential for enjoying the tunes. The actress/singer is to be admired for how well she organizes her reflections on an injurious childhood, the many appalling attempts at treatment, and a psychedelic trip gone wrong. Though she returns to her memory of a captive elephant who was brought to a child’s birthday party as entertainment (the animal for whom the work is titled), she is really more like the proverbial fish out of water: perpetually treated as unsuited to traditional society.
Greenberg is joined onstage by her charming musical director and occasional contributor Bill Zeffiro, the winner of several cabaret awards. Her director Joanie Schultz is also a close friend and may have consequently used too gentle a hand. Greenberg’s stories are vivid and filled with distinct details, but many are told at the same energy level rather than given variation. Sadly, no explanation is provided for Greenberg’s fanciful satin dress with a huge black sequence snake wrapping itself around her body. The recorded performance was done with a single camera at an unusual angle and it could have used some more balanced sound mixing. Even so, it was obvious that the show has promise.
Melanie Greenberg is a gifted storyteller with a great deal to say. She is worthy of attention, with infectious vivacity and a genuine sense of compassion for her struggling younger self. Despite her casual manner, it seems likely that a certain amount of personal distancing is required to actually enjoy hearing the darker aspects of The Elephant in the Room. The piece debuted at United Solo Fest at Theatre Row and is now traveling to other intimate venues. The next performances are December 3, 10, and 17 at The Apple Tree Inn in the Berkshires, all the better to hunker down and continue the conversation with fellow audience members. Tickets are $25 and can be purchased at https://www.sevenrooms.com/experiences/appletreeinn/the-elephant-in-the-room-7597649199. Runtime is approximately 80 minutes.
There is no denying that Richard Hoehler is a talented man. A winner of the The Off-Off-Broadway Review (OOBR Award) for Best Solo Performer, he knows how to own a room. In his latest monologue, I of the Storm, he tells tales, recites poetry, sings heartily and even dances a lick or two. You’re sure to take notice throughout even if it doesn’t quite all hold together in the end.
The Unforgettable Line 
Dogs of Rwanda
Dogs of Rwanda is like that really sweet guy you wanna like, but you just can’t get beyond his shortcomings. There are several unfortunate distractions that prevent it from being as powerful as it should be. Given that the Rwandan genocide took place in 1994 and the audience spans a large age range, a short background beyond the artistic director’s statement would have helped. By necessity, the tale we hear is a deeply personal one and moments are certainly shocking, but they are not given sufficient context or a sharp enough lens through which to see. There are also some artistic choices that have hindered the impact of the piece.
The script by Sean Christopher Lewis is delivered as a monologue told solely from the point of view of David Zosia, who at 16 volunteered for a church run spring break program in order to spend time with his crush, Mary. At their Ugandan camp, they are assigned laundry duty working just downstream from Rwanda. When the fight between the Tutsis and the Hutus breaks out, bodies begin floating by the horrified youth. The pair is drawn deeper into the conflict when they attempt to help a local boy named Gods Blessing. Over the course of 90 minutes, David vividly describes what happened at the time and also 20 years later when he receives a note from Gods Blessing that takes him back to Africa. The audience is present to bear witness to his account: an integral role in any deeply meaningful ritual.
David is portrayed by Dan Hodge, an actor and director with an impressive resume. Unlike most solo performances this isn’t Hodge’s story and that is the first stumbling block to its success. Hodge never fully inhabits the role: he is acting not being. The only other person on stage is musician Abou Lion Diarra who accompanies David’s tale with original music performed on a variety of percussion instruments. This creative embellishment was added by the Urban Stages team, but the execution doesn’t quite work. Hodge is inconsistent about including Diarra in the action, sometimes exchanges glances and sometimes ignoring him. Furthermore, the talented Diarra is often so swept away by the joy he finds in playing that it is easy to catch him smiling incongruently to the horrors being described.
Actor Dan Hodge with instrumentalist Abou Lion Diarra. Photo by Ben Hider.
There is also the critical issue that David is essentially a selfish SOB. Everyone else we hear about — Mary, Gods Blessing, and his current girlfriend — have been treated with contempt by our narrator and guide. He is not without redeeming qualities, having literally bled to share at least some of his story with the public in a book called Letters From The Red Hill. While David is certainly contrite by the end, that is where we leave him, never witnessing any actual change in his behavior. This makes his confession a rather hallow one. How can we forgive David as we are meant to if we never see him embody the lessons he claims to have learned and put them into action?
Urban Stages Founder, Frances Hill, and Director of Musical theatre, Peter Napolitano are responsible for the meandering direction. The creative team is the same as the one that brought Zhu Yi’s A Deal to life. Their vision is much murkier this time around. The set by Frank J. Oliva is made to look like a village clearing with a faux earthen floor and thatch peering through a side opening. It lends an interesting flavor to the atmosphere, though the setting is only appropriate some of the time. John Salutz’s lighting casts long shadows which may be intended to add mood but come across as an amateurish mistake. The brilliant Ryan Belock has once again designed the projections, but the screen is at an angle over Hodge’s head. This is effective for planes, trees, and clouds, and a head scratcher for ocean waves.
While not completely successful as a drama, Dogs of Rwanda can serve as a reminder of the dehumanizing effects of war, the atrocities committed based on tribalism, and the many treasured places around the globe devalued by Americans. It is a worthy end to a season in which Urban Stages has been shining a light on works with an international point of view. It runs through Saturday, March 31, 2018. Tickets for are $35 ($25 during previews; $50 on opening and $15 student rush) and may be purchased via OvationTix at www.urbanstages.org or by phone at 1.866.811.4111.