Crimes of The Heart |
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Directed by LaDonna Carpenter | ||
Presented by special arrangement with Concord Theatricals, New York |
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Director's Notes
I'm a proud Gen X'er, a child of the 1970s. While I was playing outside from morning to night, riding my bike without a helmet and drinking from garden hoses, the United States was experiencing a time of transition. Nixon resigned. The Women's Liberations and Civil Rights movements were confronting how we viewed women and minorities. The country was still entrenched in the Vietnam War and the Cold War. A small town upbringing shielded me from most of the greater issues in the world, but as an adult, I've become a product of the total package of my childhood. The beliefs, experiences, values, traumas of a child…they all combine to make me the flawed human being I am.
I can't help but think that our characters, Lenny, Meg and Babe, probably had a similar experience growing up in their small Georgia town, but their very different experiences created scars of childhood trauma that I never had to manage. Abandoned by their father and having lost their mother, they would be raised by grandparents who were ill-equipped to parent more children and who still held onto the values and opinions of their own upbringings. The result is three young women who must now carry the baggage of childhood trauma, each one committing her own crime of the heart.
As the oldest, Lenny often took over the mother role to her younger siblings forgoing self and focused purely on meeting the needs of others. She was also a frequent target for Old Granddaddy's criticism. The resulting self-esteem issues combined with chronic selflessness lead her to the belief the she is undeserving of finding her own love and happiness.
Meg, the middle child, was eye witness to the tragic event that caused them to lose their mother, and as such, she may be the most traumatized of the three. Her determination not to, as Babe describes, become "a weak person" has caused her to resist becoming too close to anyone for fear of losing them. Lenny's polar opposite, she thinks only of what's best for herself, everyone else be damned. At the time we meet her, she has, in essence, sabotaged every relationship in her life in an effort of pure self-preservation.
Then there's Babe, the youngest of the sisters. Both of her parents were gone before she was old enough to really comprehend what was happening, and Old Granddaddy seemed to make it his mission to protect her innocence. She was taught to view the world through rose-colored glasses, leaving her with a childlike view of life and little preparation for reality. She also never fully grasped why her mother died, and she tells us several times how much she's fears that she'll end up like Mama.
As our play begins, we find the sisters coming together in support of Babe as she is being charged with shooting her husband. Her literal crime serves as the catalyst for these women to explore their relationships and their figurative crimes of the heart. Can Lenny learn to love herself? Can Meg learn that commitment and selflessness don't make us weak? Can Babe see that her mother's circumstances are not her own?
Although Crimes of the Heart is set against the backdrop of Babe's crime, it's really the story of flawed women learning to atone for their crimes of the heart. It also asks us to examine the crimes of the heart that we, ourselves, have committed. The happiness we don't think we deserve. The hurt we inflict on others. The resistance to take accountability for our actions. How we deal with those crimes and grow from them can determine how we see the world and how the world sees us. What are your Crimes of the Heart?
CONTENT NOTE: The subject matter of this play includes domestic violence and suicide. It also includes a brief description of a relationship between young woman with an underage boy. These subjects may not be suitable for all audience members, but their inclusion is central to story line.
Special Thanks
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Jeremy Lindemann
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Kayla Meisel
- Eckroth Music
- Dakota Nuts-N-Candy
- Pat Litton
We would also like to extend an extra special thank you to Nancy Gordon and Morgan Nelson for your help transforming walls and doors into our cozy little kitchen in the small Georgia town of Hazelhurst.
Song List
https://open.spotify.com/album/5xl4wMpBwkjl3tHgXcxPZi?si=TG-PgVQoQHupNYDcxNnKtg
Head over to Spotify to listen to more music by Nick Gomez
Cast
Creative Team
LaDonna Carpenter
Marissa Carpenter
Nancy Gordon
LaDonna Carpenter/Marissa Carpenter
Amanda Perry
Brian Nelson
Tom Chase
ATTENTION
CAMERAS AND OTHER RECORDING EQUIPMENT
Cameras and other recording equipment are strictly prohibited during any performance. Theater management reserves the right to ask any patron who is observed recording a performance or invited dress rehearsal to leave the premises without a refund.
CELL PHONES
The use of cellphone for calls or texting is prohibited during performances. The use of these devices is disruptive to both the actors on stage and other patrons. All cell phones should be placed on silent mode and the screen set to its darkest setting. Any patron who not in compliance with our cell phone policy during a performance may be asked to leave without a refund.
Meet the Company
Amanda Pitzer
Rachael Solborg
Schatzy Eichmann
Taryn Chase
MJ Kuntz
Drew Pengilly
LaDonna Carpenter
Marissa Carpenter
Nancy Gordon
LaDonna Carpenter/Marissa Carpenter
Amanda Perry
Brian Nelson
Tom Chase
Multimedia
MISSION STATEMENT
The mission of Dakota Stage, Ltd. is to contribute to the cultural development of our community by creating high quality, live theatre productions that enrich, educate and entertain both audiences and participants. As a community-based theater, we constantly strive to provide a nurturing environment for participants of all ages and cultures to develop artistic and technical skills while promoting live theatre as an avenue for entertainment within our community.
INTERESTED IN PARTICIPATING?
Follow Dakota Stage. Ltd. on Facebook, Instagram, and Twitter to find information on auditions and volunteer opportunities for future productions.
Audition Dates:
Marvin's Room - February 5-6 at 6:00-8:00PM
The Underpants - March 19-20 at 6:00PM
WE'RE HIRING
Dakota Stage is seeking a Master Carpenter to help us build sets for future productions. If you're interested, please send email to DSLadmin@dakotastageltd.com