There will always be life altering events in an individual’s life that are vividly remembered. Occasionally, something happens that is so monumental, it transcends the individual experience and touches a group of people, even an entire nation. More often than not, these are tragedies and in one fell swoop, they change the shape of our lives. It is no wonder that so much of art, theater, literature and cinema are dedicated to the pursuit of understanding and reconciling these events. The power of the emotions and transcendental nature of the experience create a fertile playground rife for creative exploration.
Unfortunately, many artists exploring under the umbrella of common tragedy forget that the tragedy should not be used as a stopgap; a band-aid to cover up where the plot leaves us hanging. Stephen Metcalfe’s “The Tragedy of the Commons” uses the attack on 9/11 in some places very effectively, yet in others as a band-aid.
On the surface, Dakin, played by Brian Kerwin, and Macy Adams, played by Leslie Hicks, live a simple, peaceful life; Dakin writes in his blog, Macy walks the dogs and they eat dinner on their terrace enjoying the view. However, just below the surface, lurks an unrest: a gaping void left by an unhealed grief. The Adams lost their son Spencer in the World Trade Center attack. Their peace is precarious. So when their long-time neighbors and best friends announce that they are moving and selling their house, the proverbial straw that breaks the camel back falls. Dakin spirals into a panic that the new owners will rebuild and in doing so, build upward – destroying his cherished view from the terrace.
While it is understandable to be upset about losing a beautiful view, the degree to which Dakin reacts warrants further explanation. In retrospect, no explanation is actually given. There is simply an assumption that his reaction stems from the grief of losing his son because the audience is never given an indicator that the father holds any significant connection between the view and Spencer. It is true that grief affects people in different ways and often creates inexplicable reactions, but Metcalfe leaves out too many dots for the audience to connect and create a complete picture.
Despite this, Kerwin delivers a beautifully in-depth performance. His grief is palpable and his anger and frustration are unleashed in his vain attempt to stop the inevitable. Dakin manages to hurt and scare off all those around him, yet in the end they all come back as he seemingly hits bottom – again, more connections left out by Metcalfe. Ruskin Group Theatre’s production is well-executed, but fails to let the audience in enough for it to be truly moving.
