THE PRODUCTION
Whitewash and Mortar debuted in June of 2022 to a full house at the Bantam Cinema & Arts Center in Bantam, Connecticut. Featuring a cast of thirteen talented actors, the production had the honor of being the first live-theatre offering in the Bantam’s “Readers’ Theatre” series. The show was directed by Robert Kwalick, whose five decades of theatrical experience contributed to his deeply thoughtful and innovative presentation of the work.
THE STORY
An exploration of the interaction between social classes and cultures and the challenge of maintaining an attitude of kindness in a highly imperfect world, Whitewash and Mortar tells the story of a thrice-divorced woman forced to live on her eccentric uncle’s largesse while working at an exploitative job among people from much different backgrounds than her own. Astonished at the hypocrisy of those in her social circle and the brutality of her own family members, she offers compassion to those who deserve it, while anxiously experiencing ever-increasing helplessness. Described as sharing similarities with Brecht’s The Good Woman of Setzuan, the protagonist grapples with harsh realities while attempting to remain devoted to a higher truth. Says Lavin, “It’s a comedy/drama about the interaction between social cultures and the difficulties of being a kind person in an imperfect world.”
Dividing Line
THE PRODUCTION
Dividing Line is being produced as a staged reading at Goshen Players (Goshen, Connecticut) in summer 2024. Stay tuned!
THE STORY
Conflicting emotions, racial identities, and historic morality come into play as a controversial land rights issue shatters loyalties in a small Connecticut town. Mayor Randall Stone, a displaced Vermonter, cannot help but reflect on his past as he grapples with the powerful and twisted realities facing him. Keith Bannon, the assistant in whom he confides, has a secret that threatens to destroy his trust. Ultimately, Mayor Stone is forced to confront a chilling truth and uncovers a legacy of greed, lies, and murder as he walks precariously along the dividing line between iniquity and justice. “The main character’s frustration at suddenly having to face centuries-old moral complexities is a very timely problem as the United States increasingly considers the question of reparations to Indigenous people,” says Lavin. “This drama articulates the discrepancies in individuals of European descent who profess one thing but do another when the problem is ‘in their own dooryard,’ as Mayor Stone would say.”