SALT LAKE — Facing East by Carol Lynn Pearson first premiered in Salt Lake in November 2006. It is rather apropos that Pearson’s work is playing with Plan B again after 20 years, given that Salt Lake lost this icon and advocate in July of this year at the age of 86.
Facing East follows the story of a “Perfect Mormon Couple” who have to deal with the suicide of their son and facing his partner, Marcus, played by Kaplan Keener, as they navigate their emotions for the son they lost and the person they thought he was. The parents, Alex, played by Jay Perry, and Ruth, played by Christy Summerhays, together with director Jerry Rapier and the entire creative team have made a beautiful and timely tribute to Pearson. The show is also a timely commentary on acceptance and understanding of the LGBTQIA+ community.
The set of Facing East, designed by Janice Chan, surrounds the grave of the McCormicks’ son, and that somber feeling as you walk into the intimate 40 seat Rose Studio of the Rose Wagner Theater is a breath-taking reminder that this show is a full trigger warning. Staring at the open grave, with the fresh flowers and leaves in the air that are made from sheet music, which later connect to the musician son and the music that Ruth let go of to be a mother, the set is a beautiful tribute to the story that is told and even left untold because we never get to meet the son, Andrew. The lighting design by Emma Belnap added many soft hues and changes of perspective, especially when the show dipped into flashbacks and memories.
Perry as the father had many moments that were deeply moving. He took the time to speak to the trees, and to his wife, discussing how the funeral did not address their son as he was, and through that spoke to the trauma of loving a religion and also loving a child that does not follow the tenants of that religion. Perry did a really good job walking the delicate tightrope of questioning the loss of his son and sticking to the beliefs he had always held to. Summerhays as Ruth represented another side of that tightrope, representing the way that we often lean into faith when we have fears, and how sometimes that can lead to more pain.
I appreciated the way that each of the characters had a depth that was surprising for a 70-minute show. Summerhays was able to build a character that showed sacrifice for family, belief that her value came from motherhood and nothing more, and that she loved her son, but did not know how to show it. Perry showed true conflict with his love for his son, love for his work, and love for his church, and what it all meant when the world he knew came crashing down.
When Keener comes in as Marcus, the challenge of who the McCormicks’ wanted their son to be, and who their son was became even more painful and beautiful. One of the best and most haunting moments of the show was delivered by Keener when he said, “You and your church created the man I loved. And destroyed him. For that I will always hate you. And always love you.” This was such a powerful moment and a powerful piece of theatre because we want things to be cut, dry, and easy. We want to hate one another, cancel people we disagree with, and find reasons to hate and condemn. We want to be able to shut out those who are different from us and say that because we disagree, we should just cut it off, but it truly is not that simple. Keener through his character was able to show the audience that Andrew was who he was because of the church he was raised in, and that was both beautiful and harmful.
Though it was only 70 minutes, this production was a masterpiece, full of deep questions of who we can accept, who we should love, and why. The prelude music was a primary song also written by the author of the show, a beautiful tribute that may not have been recognized by some but I found it a nice touch. The words of that song fit with the theme of the play: “If you don’t walk as most people do, some people walk away from you, but I won’t.” These three actors grappled with the reality of what their lives and beliefs had led to, and what their pain would be moving forward. Because the setting was so intimate, Rapier as the director was able to hand out tissues before the show began, and they were needed by most in attendance. Good theatre often makes you question your beliefs, and Facing East is a reminder to look at who we walk with and why.
MORE INFO: Facing East plays through November 8th at the Rose Studio theatre, 138 W 300 S Downtown SLC. The production is currently sold out. For more information and to join the waitlist see planbtheatre.org
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