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Poor Clare
Reviewed by Natalie Shaw
We spend the majority of our lives trying to avoid poverty. For the first three or four years, we aren't old enough to understand. But, around the age of four or five, we go to school. We cry to our mothers, asking "Why, Mommy, why do I HAVE to go? I want to stay at home with you!" And our mothers respond, saying, "Because, you have to go learn, so you'll be smart. You have to go to school, so that, when you're big, you can get a job and earn money." I've had this very conversation with my children. And, as I'm saying these words, I'm thinking to myself, "but, they don't care about a 'job.' They don't know what it means to have one or, for that matter, what it means to make money." So, I follow up with, "You're going to make friends with kids your age, and you're going to have so much fun learning and playing with them! Trust me, you're going to LOVE it!" I slink back into myself. Because, I know that I am taking the first step in pushing them out into society living, when all I truly want is for them to be my sweet baby forever, staying the age of three or four, letting me hold them and take care of them, forever. I'm not ready for this change, and neither are they and it's killing me inside.
There are layers, upon layers upon layers of experiences in life. This particular layer mentioned above is one that is filled with rocks and thorns; it's extremely hard to get through. But, I watch my children enjoy their time in school, playing with the friends they've made, learning about amazing things they'd never known before, reading books that open their minds to new ways of understanding. This layer is filled with rich nourishment, and I don't feel dread, I feel pride. I breathe deep, because one day, they'll make that money that I know they'll need. I rest assured, much like Ortolana, (played with maternal grace by Lisa Lloyd) knowing that her daughter, Clare (played insightfully by Kayland Jordan,) will be financial secure.
Poor Clare is filled with meaningful layers, indicative of life itself. As we wait for the show to begin, we are faced with a beautiful multi-leveled set design, by Brian Clinnin, that has already begun the story. Stairs, platforms, columns, and multiple archways initiate the conversation in which we've been invited to partake. Our setting is Assisi, Italy in early 1200 AD, during the time of St. Francis and St. Clare. Our main character, Clare sits atop a platform at eyelevel, having her hair braided by servants, Alma and Peppa, sharing gossip and discussing fashion. Immediately, the audience is faced with dialogue that is filled with modern-day jargon, references and present day mannerisms; clashing with the medieval costuming, hair styles and accessories. (This is layer number one.) It's no secret as to why, however. If you're aware of what's going on around you in our current times, you'll see that playwright, Chiara Atik is pointing out that this story is still, very much, relatable to today's way of thinking. In reality, these characters would have used language, references and mannerisms relevant to their time period, but, in comparison, human behavior has not (for the most part) changed. In addition to this, the present day language and mannerisms add humor to what might otherwise be a lot to take in.
Clare is promised to wed a wealthy man, who is, unfortunately, several years her senior. (Layer number two.) Although literate, Clare's education is limited-to-lacking. Marriage, of course, being the only meal ticket a woman will have. As our story progresses, the education and insight of Francis, (played passionately by Danny Lovelle) proves to make a strong impression on Clare and her personal beliefs. (Another layer.) Francis' life's work has taken a turn, from living under his father's wealth, to denouncing his inheritance and all the benefits that accompany it. He is a self-made impoverished man of God, committing himself to God's work and to improving the lives of the poor in his community. (Another layer. I could continue, but I believe you get the picture.) Initially, Clare is confused, ignorant, if you will, to this notion of thinking. Haven't the poor earned their status through laziness and lack of initiative? And, are we not creating a dependent relationship if we continue to constantly meet their needs? Surely it is better for them to "get a job!" or "pull themselves up by their bootstraps!" This is, in fact, what she has grown accustomed to believing; the regurgitated bile that has been passed down from generation to generation, bile that we struggle to digest with each line of prosperity.
Jordan and Lovelle allow the growth of a tender, gracious connection to flourish between their characters. One that seeks understanding, honesty and companionship, while also allowing humor and banter to play it's part in the joy that exists between them. Should he not be so committed to such a pious lifestyle, we would argue that he desires more than simple acceptance and friendship from his female protégé. Yet, we may still argue that the sacrifices made on her part, for the sake of their companionship, and her growing relationship with God, prove her unwavering devotion to them both. Thus, revealing that, should her heart so desire Francis, it must also desire the Lord and the undertaking associated with them both. Jordan passionately depicts how she will pursue them, fervently, and without delay, while Lovelle masterfully grapples with the weight of his decisions and the impact it has had on the woman who has become his kindred spirit.
But, what is this undertaking that I speak of? Why, a life devoted to poverty and to the impoverished, of course! A life fully devoted to whatever that means, even death. Playwright, Atik, allows us to be face-to-face with the impoverished lifestyle by use of one, lonesome beggar, played with heartfelt honesty by Francisco Grifaldo. We understand that millions of individuals live a life of poverty, however, this lone man represents the concept of poverty. A profound monologue draws us in to a more intimate understanding and relationship with the idea, where our Beggar friend reveals that he is a veteran from the war and was reduced to a life of poverty, despite his best efforts. His interactions between Clare and Francis reveal to us the difficulty he faces, while trying to survive each day. His circumstances remind us that we are one war, one illness, one injury, one unfortunate circumstance away from being in this exact position. While many of us may have family or friends who could and would rescue us from going under, many more do not have that luxury. Some of us have a home that we can always go to. Many of us do not. And to pretend that others don't need our help is disserving and outright selfish. I leave this quote by Stephen Colbert for you to ponder:
If this is going to be a Christian nation that doesn't help the poor, either we've got to pretend that Jesus was just as selfish as we are or we've got to acknowledge that he commanded us to love the poor and serve the needy without condition and then admit that we just don't want to do it.
Poor Clare reminds us that the impact we make on the lives of those who live without may go much further than we could ever imagine. We may not singlehandedly be able to end poverty, but a lot can be done when we work to together to do what is possible. Let us remind ourselves of those who truly benefit from generosity, not just during the Christmas season, but year-round. Make plans to see this beautiful love story at Stage West! Poor Clare runs through December 17. Tickets can be found at stagewest.org. Enjoy dinner and drinks before the show at the Lobby Cafe. Drinks and dessert can also be enjoyed at intermission. Drinks are permitted in the performance space, as well.
Running Time: 2 hours with one 15 minute intermission.
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Available on Dec 14.
Sound Level: Comfortable Sound level
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