Molly Smith Metzler’s new comedy, The May Queen, currently running on the Bratton Theater stage, has echoes of “The Breakfast Club,” “Grease,” “Mean Girls,” “Carrie,” “Peggy Sue Got Married,” and every other story of high school wherein the girls are mean and the guys are shallow and selfish.
In her new play, Fifty Ways, now playing its debut engagement in Bratton Theater, Kate Fodor explores the potent but ambiguous states of emotion that lie in the balance between loving and not loving, between forgiving and not forgiving, between moral obligation and freedom from obligation.
These are speculative states of being:
“Would I still love you if …?”
“Could I forgive you if …?”
“Would I stay with you if …?”
We may think we know the answers to those questions, but we never really do. We can never know in which of the 50 ways we might leave our lovers until fate actually delivers us to the crossroads of decision.
Those who love Anton Chekhov’s “Three Sisters” understand that as time passes, the world we know fades into the past. In time, we ourselves will be gone, and no one will remember our faces or even our voices. The good news is that through the indelible impact we have on others, eventually, our lives will take on meaning, and the world will be a better place.
At least, that is the famous prophecy made by Ólga, the oldest of the three sisters, in the final moments of Chekhov’s play.