Writer: Jonathan Spector
Director: Roy Alexander Weise
Welcome to Eureka Day, an independent school in Berkley California where inclusion and social justice are at the core of everything they do. We are invited into the meetings of the school’s executive board as they try to figure out how to deal with an outbreak of mumps amongst the student population. Our five person executive board is headed by Don (Stephen Brennan), who loves to quote Rumi and gives the impression that he wore sandals and burlap in the 60s. The real power of the group rests with Suzanne (Philippa Dunne), who has been involved in the school from its inception and although she talks about community and hearing everyone’s voices, she is resistant to any view that does not align with her own. Next we have Meiko (Kar Alexander) in her workout gear, sitting on a yoga ball and knitting, she is everything you picture a Berkley parent to be. Eli (Rowan Finken), a stay at home Dad who seems oblivious to his own privilege and finally the newest member of the committee, Carina (Ayesha Antoine) who is new to the school and its unique culture.
The beginning of Jonathan Spector’s 2018 play feels ludicrous at points. The 5 person committee is a satirical look at modern progressiveness. They will only approve changes by consensus and vigorously debate whether Transracial adoptee should be added to the race options when applying to the school. It feels overdone at times and as though Spector is going for ‘cheap shots’ at the progressive mindset. However, as we get further into the story we see a deeper conversation about privilege, vaccination and social justice. The anti-vaccination stance of Suzanne is presented as deeply as the time and constraints of a piece of theatre will allow. Rooted in a distrust of doctors after the loss of a child and reinforced by theories about ‘big pharma’ and the lack of neutrality in science. It is an argument that has been debated hotly. The unique environment of the Eureka Day executive board allows for the debate to rage amongst the committee members whilst also allowing for everyone’s perspectives to be equally heard.
Humour plays an important role throughout; the pinnacle of which is a ‘Community Activated Conversation’ which is described as ‘a town hall with more input’. The five person committee sat at one side of the stage on a video conference with the families from the school. They are gathered closely around a laptop but on what is a very clever use of technology, what is being caught by the camera is displayed on a large screen centre stage. While the meeting is ongoing, one side of the screen displays messages from the community that brought uproarious laughter, the kind that can bring you to tears, to the audience. While this is happening, the committee are arguing amongst themselves and Eli is receiving important information through his mobile phone. The whole thing is so chaotically hilarious, that it truly is the highlight of the show.
The strength of the cast ties this show together. Brennan’s portrayal of Don is truly hilarious and yet worryingly familiar. Don is desperately trying to please everyone, to stay on top of the raging crisis without upsetting anyone or trampling on their long held beliefs which often means not expressing his own feelings. Brennan navigates these complexities with ease. Dunne as Suzanne perfectly encapsulated the dichotomy of her character. She is complex and although thoroughly grating at times, still invokes compassion. Antoine ensures we are keenly aware of how Carina is feeling whether she is speaking or not. Every emotion is plainly written on her face and in her body language. We see the biggest character changes in Meiko and Eli played by Alexander and Finken. Finken expertly navigates Eli’s journey to learning what true humility is. The stand out performance comes from Alexander who portrays Meiko’s grapple with her beliefs so stunningly.
The set design by Loren Elsten is excellent, with a strong use of earthy colours and plants but also full of colourful pops. A delightful little reading corner is set up on one side of the stage with a canopy and colourful bean bag chairs. Signage around the meeting room includes progressive messages and the bookshelves are full of diverse books. You can immerse yourself in this perfectly crafted little world of privilege and choice. Lighting design by Sinéad McKenna is used very cleverly throughout, particularly to project images to show transitions and situate us in time. The transitions between scenes can be lengthy, however the expert use of lighting is a wonderful distraction.
Eureka Day ends on an ominous note as it enters the 2019-2020 school year, vowing it will be ‘The best one yet’.
Running Until 7th March 2026.
