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Something about an “eccentric” woman of a certain age who lives on her own, does what she pleases and shows creative power and an independent spirit always seems to strike fear in the hearts of small-minded neighbors and conservative townspeople.
In the playwright Athol Fugard’s “The Road to Mecca,” the latest offering at the Pear Theatre, said woman is Miss Helen, an elderly widow in the desolate Karoo region of South Africa who, in the 15 years since her husband’s death, has gone from meek and mild churchgoer to free-spirited artist, much to her neighbors’ chagrin. The more whimsical owls, mystical wise men and other unusual sculptures she creates and displays in her garden, the more she becomes ostracized from her erstwhile community.
Helen finds herself as the rope in a tug of war between her old friend, the Rev. Marius, and her newer friend, a young teacher named Elsa who admires Helen’s artistry and bristles against the old-fashioned attitudes of Marius and the rest of the villagers.
Elsa and Marius represent two different cultures, as well as generations, from within South Africa. She’s a resident of urban, modern Capetown, a 12-hour drive away, and a descendant of British settlers. She’s a native English speaker with a crisp British accent and represents progressive ideals. Marius (like Helen) is an Afrikaner, descended from Dutch farming stock, speaks with a lilting Afrikaans accent and represents old-fashioned, conservative Christian values and way of life. These three characters — the only ones seen or heard in the play — are all white, and while characters of color living under the injustices of Apartheid (the play is set in the 1970s) are discussed, they aren’t given the chance to speak for themselves (a fact that Elsa actually briefly addresses).
As Helen grows older in her isolated home, without electricity or running water, Marius becomes concerned with her ability to look after herself and is urging her to move into a church-run home for the aged. But is it truly Helen’s welfare that motivates him or simply a desire to reign in her nonconformist eccentricities? Elsa, on the other hand, is outraged that Helen is even considering leaving behind her beloved sanctuary, abandoning her artistic work and giving in to societal pressures.
Diane Tasca recently retired as the Pear’s artistic director (succeeded by Elizabeth Kruse Craig, who also directs this production) but, happily, she hasn’t left the Pear entirely, as she offers a lovely performance as Helen. She gives her character vulnerability and fragility but also moments of spark and radiance. Marius is, for much of the play, made out to be the villain, the would-be squelcher of artistic expression. He is certainly patronizing and boo-worthy when he belittles Helen’s work by downplaying it as an odd “hobby” but John Baldwin brings a warmth and dignity to the role that helps the audience appreciate his perspective, and his tender feelings for Helen. Brianna Mitchell has a tough job with the role of Elsa, as she spends a large part of the play huffing and ranting at Helen (and later Marius), speaking in generalizations (“You Afrikaners” this and “If my friends in Capetown could see” that) and being fairly patronizing in her own way as well. I quite like Mitchell as an actor but Elsa gets rather exhausting after a while, even though her words and ideals are righteous. When late in the show Helen asks her to stop screaming so much, I was in complete agreement.
There are an awful lot of long-winded diatribes in Fugard’s script. Because of this, and despite the appealing cast, it’s a slow-moving and sometimes tedious production, which takes place entirely in one setting. The play is a long one (two hours, 40 minutes including intermission), and much of the entire first act seems superfluous (things pick up a bit once Marius shows up to break the monotony of Helen and Elsa bickering). There is beauty in much of Fugard’s language but also redundancy and heavy-handedness.
There is certainly beauty, too, in Ting Na Wang’s scenic design of Helen’s bohemian, candlelit, colorful treasure box of a home, and Ben Hemmen’s gorgeous lighting design. The thought of Helen leaving such an oasis for a spartan room in an old-age home is indeed heartbreaking.
The character is loosely based on real-life South African outsider artist Helen Martins, whose home and sculpture garden are now a heritage site. At the heart of “The Road to Mecca” is a consideration of the artistic spirit, of how much an artist’s work can mean to them even (or especially) when it’s not appreciated by those around them. Helen, whose artistic vision bloomed fairly late in life, is loathe to give it up and desperately afraid her gifts are fading away. This theme surely resonates with any audience member who’s felt the passion of artistic inspiration, in any media. Though a cumbersome play, “The Road to Mecca,” like Miss Helen, also proves quietly powerful.
What: “The Road to Mecca.”
Where: Pear Theatre, 1110 La Avenida St., Mountain View.
When: Thursdays-Sundays, through Feb. 11.
Cost: $28-$32.
Info: Go to The Pear.
