By Elyse Trevers
It’s a long journey from the wholesome Dr. Jack Morrison of TV’s St. Elsewhere to the creepy pedophile of the revival of “How I Learned To Drive.”
But actor David Morse, who played the wholesome TV doctor, now makes your skin crawl with his appearance on stage.
He stars with the outstanding Mary Louise Parker as Li’l Bit who brings her character to life, transforming herself over time. The story begins with her looking back at her life, her family and particularly the uncle who taught her to drive.
His lessons morph into something more, and terms for driving have double entendres. In recalling her life, Li’l Bit is coming to terms with understanding how someone she trusted took advantage of her, yet she bears little anger.
She has been expelled from college because of drinking and has spent most of that year driving on highways, grateful for Peck’s driving lessons.
Parker is excellent as always. A regular on the Broadway stage who never fails to impress, she is able to portray a preteen as easily as an adult with barely noticeable shift in posture or voice.
Morse speaks with slightly honeyed Southern soft tones as he woos an impressionable girl and even a young male relative. He seems to be the only one who understands her. She wants to help him and offers to meet him if he stops drinking.
Sitting In the audience, you are tempted to yell out to her to avoid her uncle but Li’l Bit never had much of a chance. Raised in a dysfunctional family, Uncle Peck was the only one who supported her going to college.
Her relatives gave out nicknames based on genitalia. Her misogynistic grandfather is “Big Papa”, and her young cousin is BB ( Blue Balls.) During a typical family dinner the family jokes about how “well-endowed” Li’l Bit is. Her mother ( Johanna Day) is an alcoholic who gives her advice on drinking.
Her grandmother, who married young and sounds puritanical, is portrayed by Alyssa May Gold who is slight and very young looking. She later plays Li’l Bit as an 11 year old. Chris Myers completes the trio comprising the Greek chorus.
The scenes don’t flow chronologically. Instead, Li’l Bit announces that she was 11 or 17. Or just turned 18. She addresses the audience, explaining what occurred. Even though she wasn’t present, the audience witnesses Uncle Peck with BB, teaching him how to fish, and we hear the same lulling inveigling tones he’s used on Li’l Bit.
The play by Paula Vogel was first produced 25 years ago on May 6, 1997 at The Vineyard and three of the original cast, Parker, Morse and Day are reprising their roles.
It’s the first driving lesson that really unnerves us, though it appears towards the end of the play. Li’l Bit is only 11 and Uncle Peck tells her to sit on his lap because she can’t reach the pedals. Parker sits while Gold stands to the side, delivering the dialogue. The last moments of the play reveal that she has moved on. Driving, she ‘sees’ Uncle Peck in her rearview mirror, smiles then steps on the gas pedal, finally leaving him in the past.
The play feels very much on target in these days of “MeToo” when women are speaking out, accusing men who have abused them. By age 18 Li’l Bit finally had the strength to resist Uncle Peck but by then the damage was done.
The staging is simple and the scenes are named after driving instructions. “How I Learned to Drive” is a play that has transcended time, and sadly has grown more timely and connects to people who see their own stories. Well-directed by Mark Brokaw, “How I Learned To Drive” is as relevant today as it was twenty-five years ago.
