“Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean” presented Nov. by Regeneration Theatre-Reviewed
–Barnaby Edwards (Producer)
When a yellow Porche comes to this particularly uninviting spot, it is a matter of passing speculation to Mona, though Sissy, Juanita and other celebrants don’t miss the driver, a tall well turned out woman, who knows too much about them. I’ve read enough southern literature, Flannery O’Connor came to mind, to know the terrain. There’s the fevered religiosity of southern women to romance, especially failed chances. Brittle Mona fairly echoes Tennessee Williams’ Blanche, as she weaves the fable of her life, the college education she gave up to stay home, her transcendent moment being noticed to be an extra on Giant, and the glorious evening on earth, which had given her life meaning! Of course she’s not a credible narrator.
While Mona, a painfully earnest Nicole Greevy, tells Mona’s story, her younger self, and those of , young Sissy and a gentle boy named Joe, tell the real story of what actually happened. It’s a shocking story that somehow seems much less so in 2017. Time seems to have made this more familiar, and somehow a but lurid, like a TV drama. What had dramatic punch in the 70s, is not a surprise.
Joe and Sissy and Mona were friends, who dressed up and sang like a girl group. Mona and Joe were besties and Sissy had sex on the gravestones. Oh, and did I tell you there’s a boy, Mona’s son, called Jimmy Dean, after his dad, who she thinks is retarded?( Imagine he could never match up to his namesake so she invented this? Never explained) Amid the recall of fun times, the rituals of the fan club, we see the ghosts of the past play out the town’s brutalization of Joe. With a status lower than the dogs, Joe has to leave the town, his friends, and most of all, Mona.
2,000 saw The Laramie Project, a play about reactions to the murder of a Univ. of Wyoming gay student. Based on the true story, the play blasted open the vein of virulent homophobia in the West. “Come Back to the Five and Dime” exposes the context. The rigid class system based on family standing , while underneath fear driven racism and homophobia. The deluded pretense of class and virtue are Mona’s display, in a time when refined people didn’t openly acknowledge unacceptable truths. The play was in a way a death knell for repressed 1950s cultural mores and a herald for the new worlds of 1960s-70′s’ emotional openess and sexual experimentation.
The cast of this production were on target for the pathos and self-delusion, as each hears what really happened and must deal with it. Joe and the “Stranger,” Joanne, were played by Elliot Frances Flynn and Chris Clark. Flynn’s speechless vulnerability and Clark’s dignified self-possession were very effective. Young Mona, Lynnsey Lewis, and young Sissy, Sonja Gabrielsen, were credible in difficult roles; not ghosts but people enclosed in some odd parallel world. Kristin Sgarro’s Stella May and most of all, Rebecca Miller’s Edna, livened the party with physical humor truly intrepid.
S.W.
Source: http://notanotherbookreview.blogspot.com/2017/11/come-back-to-five-and-dime-jimmy-dean.html
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