Mono/Poly
Reviewed by Vanessa Cate
Tubeman Productions
Through November 10th
RECOMMENDED
Love and sex are complicated, and although they are a necessary part of our human existence, not many people will say that building a lasting relationship is easy. However, many people do hold onto the notion that there is a blueprint for success — a patented game plan called monogamy. A “closed” relationship between two exclusively committed individuals, monogamy has classically been a societal default. However, in recent years, you may have heard the term “polyamory” more and more. You may even know (or be) someone who is poly. Polyamory of course is an umbrella term for the many different ways you can engage in ethical non-monogamy.
When I received the press release for Brian Reynolds’s Mono/Poly, I knew I had to see it — if only for the reason that I might (probably) be the only polyamorous individual to review it. I wondered (feared): Would the play merely be a sitcom-ish jab at people who live a different lifestyle from the norm? Luckily, no. Although the opening scene did have me worried.
Two actively hetero, monogamous couples — Susan and Jerry (Georgia Gould and Travis Joe Dixon), and Henri and Miles (Angela Sauer and Dennis Renard) — are trying to survive a party gone wrong. Whoever’s bright idea it was to combine an important business meeting with a Halloween party gave too much credit to young adults in costumes surrounded by vodka. In the other room, things are getting out of hand as increasingly drunk business associates get wild. One woman in particular, Krystal (Megan Gainey), is hooking up with everyone in sight. Meanwhile, the two women comment on each other’s costume choices and the men salivate over their general objectification of women. Collectively, the scene is mostly a series of slut-shaming and an unflattering representation of cis-hetero life.
Things interestingly become much more grounded once we are introduced to our polyamorous triad, partially because the playwright himself is polyamorous (and is fairly transparent in his judgement on monogamy, as well as the tangible comfort and joy he expressed in his writing from a perspective he personally relates to), and partially because the actors in the triad are more seasoned. Scott (Robert Mammana), razor sharp and undeniably charismatic, deftly explains polyamory in a way that repulses, intrigues, and excites our monos. Partially as a business opportunity, and partially as a social experiment to delight his own fancies, Scott invites the two couples to have dinner with his family. While reluctant, they ultimately agree.
For 19 years, Scott has been in a polyamorous relationship with Bridget (Renata De Costa) and Victoria (a.k.a. “Dragon,” played by Tanya Alexander). While initially put off, each monogamous individual has their own personal awakening as a result of this encounter. It ultimately challenges everyone — even the veteran polyamorists — to re-evaluate how they approach their partners and their relationship styles.
The script comes off as preachy at times; it strongly advocates for one particular lifestyle without giving monogamy much credit. It also goes through several list and factoid sections of statistics and definitions. However, in order to make the content emotionally and logically accessible to all viewers, this approach does seem necessary.
Sexuality and sexual politics is an important consideration in the script, as is queerness and BDSM. Because true polyamory hinges most heavily on communication, consent, and clear boundaries (not the swinging free-for-all that some people think it is), the overlap with the LGBT and BDSM communities and lifestyles is a realistic and sensical one. Still, the script does not fetishize any of its characters. Victoria — a power dom — is most heavily equated with the role she fills. However, even her representation is a refreshing and celebratory one, rather than being depicted as a cartoonish femme dom. Indeed, all of the characters might have been written in a way that hopes to appeal to some viewer to whom it might occur: “that’s me.”
Those seeking an outlandish romp into sexual deviance should look elsewhere. This play serves best as an introduction to a conversation about what polyamory authentically looks like. On the night of the performance I attended, I heard audience exclamations ranging from, “That is CRAZY!” to “I don’t think I could ever do that,” and from “I think I would be this character” to actual conversations about how to approach challenging situations with a partner.
The other great importance of this production is for polyamorous audience members, who are often misunderstood and not accurately represented, might finally feel seen in a way that feels fair and accurate, at least to some extent. The polycules who have been attending the play so far have expressed a notable delight, bordering on relief.
Odyssey Theatre, 2055 S. Sepulveda Blvd., Sawtelle; Thurs.-Sat., 8 p.m.; Sun., 2 p.m.; through Nov. 10; https://monopolytheplay.com. Running time: one hour 55 minutes with one intermission.
