Rarely do discussions of adoption go beyond its presumed benevolence. It is assumed that those who adopt do so with a caring heart and a sincere desire to raise a child as part of their family. However, what happens when the adopting parent no longer wants to raise the adoptee? How do they get the kid off their hands?
Rec Room Arts' production of playwright Hansol Jung's Wolf Play, directed by Lily Wolff, is a moving and gut-wrenching story of a six-year old, Korean-born adoptee (Alan Kim) who must once again create a family after his adopted parents, Peter (Kyle Clark) and his postpartum wife decide they don't have the energy for two children.
The story is told from the point of view of the child who sees himself as an abandoned wolf looking for his pack. In another turn of symbolic distancing, the adopted child, Wolf, is on stage in the form of an aptly designed puppet voiced and moved by Kim.
Wolf played by Alan Kim and the Wolf objectified as the Puppet designed by Stefan Azizi
Photo by Tasha Gorel
Though the abstraction of the main character to such removed lengths can seem dehumanizing and excessive, it works well in this story to highlight the extent to which Wolf is but a pawn on the chess board of other people's desires.
Peter meets Robin (Callina Anderson) after she answers an online posting looking to rehome him. Through unconventional and barely legal means, the child is passed on to Robin though her wife Ash (Olivia Knight) isn't fully onboard since she's busy preparing for her boxing debut. Ash isn't fond of Wolf at first, but they bond quickly over breakfast cereal and boxing. In a moment of connection, Wolf shares with Ash his birth name, Jeenu.
Robin's brother, Ryan (Kendrick "Kay B" Brown), trains Ash and remarks often how Ash's attention and commitment to boxing is waning as they spend more time with Wolf. While Robin and Ash slowly build a bond with Jeenu, Peter gradually grows to regret his decision to give up Wolf. When Robin and Ash decide they do not wish to give Wolf back to Peter, a trial takes place to determine who should have custody of Wolf.
At the end of the two hours, the trial is had, the boxing match is over, and the audience is left feeling the weight of a boy who has been whittled down to an inanimate puppet that exists vulnerably at the behest of everyone but himself.
Though Wolf talks little and reacts quickly, Kim's playful and brazen performance contributes to the occasional humor in this play. His ability to deliver the humor of Wolf's lines is a testament to Lily Wolff's textual understanding of the play and Kim's wry sense of comedic timing.
In fact, for a show that expresses a profound interest in family bonds and the extent to which children can connect in the most extreme of circumstances, the humor peppered throughout the story helps to distract from the implicit unsavory ethics of certain adoption practices.
Two other dynamic performances are that of Brown and Knight. Brown is present in every moment when he is on stage. Even a phone call with an off-stage mother is executed with such verve that you end up waiting for the mother to finally appear on stage. In a scene with Clark, Brown seamlessly navigates from loyal brother to compassionate friend. Though dedicated to his sister and her family, it's clear that he sympathizes with Clark's regret. His success in carrying the contradictions of this scene allow the actions in the final act to hold its narrative weight.
Watching Knight slowly become a parent is a treat to watch. From the coy smiles and subtle eyebrow raises of intrigue, Knight's journey of loving Wolf is a welcomed alternative to the typical narrative of parenting that the parent immediately loves the child from the moment the child is had. Brown's and Knight's preparing in the boxing ring for the big fight is one of the highlights of this production.
Another highlight is the creative ingenuity of scenic designer, Stefan Azizi, who makes use of the intimate space to make the stage feel as expansive as possible. How the wall and multiple set pieces are utilized as storage is clever, but even more is how the design contributes to the fun energy of the scene transitions.
The versatility of the square platform in the middle of the stage to function as a kitchen table, boxing ring, and witness stand demonstrates a clear collaboration between Azizi's scenic design and Paige Seber's lighting work.. Director Wolff succeeds in connecting the different designs into a cohesive collaboration. Because the design and aesthetic elements work well together, the deeper story about the complications of adoption can be readily comprehended.
While Wolf imagines himself as an animal, it becomes easier to understand how any adopted child could feel like an animal. Sometimes, even a loving parent can speak about their adopted child as though they are a pet chosen simply to make the owner feel good.
The parallels between adopted children and pets alluded to in this script leaves much for reflection. In a final act that doesn't let up, prepare to leave the theater needing to discuss it or googling Hansol Jung and her previous works. This is an intriguing play you should definitely see with another person or group of people.
Performances continue through April 29 at 7:30 p.m Wednesdays, Thursdays, Fridays, and Saturdays at Rec Room, 100 Jackson. For more information, call 713-588-9403 or visit recroomarts.org $5-$40.
