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How I Learned to Drive

 
American Theater Guide: How I Learned to Drive

How I Learned to Drive (1997), a play by Paula Vogel. [Century Theatre, 400 perf.; Pulitzer Prize, NYDCC Award.] Li'l Bit (Mary‐Louise Parker) narrates the memory play, using sarcasm and jokes while revealing the long‐term sexual abuse she endured from her Uncle Peck (David Morse). While he teaches her to drive, Li'l Bit sees her uncle as a man of the world; he views her as a retreat from his alcoholism and despair. By the end of the narrative it is learned that Uncle Peck's sexual fumbling with his niece began when she was only eleven years old. Encouraging notices, controversial subject matter, and strong word of mouth enabled the Vineyard Theatre to move the play from Off Off Broadway to Off Broadway, where it ran a year. Paula VOGEL (b. 1951) was born in Washington, D C., and educated at Catholic University and Cornell. She was noticed in New York with her first produced play, The Baltimore Waltz (1992), an allegory about the AIDS epidemic. Her other works include And Baby Makes Seven (1993), Desdemona—A Play about a Handkerchief (1993), The Mineola Twins (1999), and The Long Christmas Ride Home, 2003.

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Notes on Drama: How I Learned to Drive
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Contents:

Author Biography
Plot Summary
Characters
Themes
Style
Historical Context
Critical Overview
Criticism
Sources
Further Reading


Paula Vogel 1997

Paula Vogel’s play How I Learned to Drive opened in New York in February 1997. The play concerns an affair between its protagonist, named Li’l Bit, and her uncle Peck. The affair takes place over the course of years, with the character of Li’l Bit maturing from age eleven to eighteen before she puts an end to it. In spite of the serious situation, there are many comical elements of the play, which avoids the expected condemnation of this situation to look at the basic humanity that binds these two characters. It uses innovative staging techniques to fade from one time frame to another and one place to the next. It also uses just three actors, in addition to those playing Li’l Bit and Peck, to represent all of the other characters who affect their lives, especially their quirky, intimidating rural Maryland family. The addition of popular music from the early-and late-1960s, such as “Dream Baby” and “Little Surfer Girl,” helps audiences understand the prevailing mood of the era that Vogel covers in this play: it is romantic and sexist, emphasizing youth and fun, the sort of social message that would make a girl like Li’l Bit, who has many feelings of insecurity, turn to a flawed relationship where she can bask in the reverence of an older man.

How I Learned to Drive is noteworthy for the many awards that it won, including the 1998 Pulitzer Prize for drama. Its initial off-Broadway run lasted for fourteen months. In addition to the Pulitzer, the play also was awarded an Obie, a Drama Desk Award, a New York Drama Critics’ Award, an Outer Circle Critics Award, and the Lucille Lortel Award.

Wikipedia: How I Learned to Drive
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How I Learned to Drive
Written by Paula Vogel
Characters Peck
Lil Bit
Date premiered March 16, 1997
Place premiered Vineyard Theatre
New York City, New York
Original language English
Genre Drama
IOBDB profile

How I Learned to Drive is a play written by American playwright Paula Vogel. The play premiered on 16 March 1997 off-broadway at the Vineyard Theatre. Vogel received the 1998 Pulitzer Prize for Drama for the work.

The story follows the strained, sexual relationship between Li'l Bit and her aunt's husband, Uncle Peck, from her adolescence through her teenage years into college and beyond. Using the metaphor of driving and the issues of pedophilia, incest, and misogyny, the play explores the ideas of control and manipulation.

Contents

Plot synopsis

Li'l Bit grows up in rural Maryland during the 1960s with a large extended family: her mother, who became pregnant at a young age; her grandmother, a God-fearing former child-bride; her ignorant, sexist grandfather; her Uncle Peck, who has been affected by experiences in combat and is a recovering alcoholic; and Aunt Mary, who is in denial of her husband's behavior.

When Li'l Bit is 11, Uncle Peck gives her a driving lesson, during which he molests her. Li'l Bit is too young to understand what has happened and, while her mother suspects that Peck has an unhealthy interest in his niece, she does nothing about it.

Years pass and Li'l Bit enters puberty. Though she is quite intelligent, her classmates recognize her only for her large breasts. Peck continues to molest her, at one point using his amateur photo studio to take provocative pictures of her. Though he makes her uncomfortable, Peck is the only member of her family who is nice to her and supportive of her plans to go to college. He continues to give Li'l Bit driving lessons, and when she drives she develops a feeling of control that she does not have in her home life.

Peck attempts to convince Li'l Bit to have sex with him, but Li'l Bit rejects his advances, albeit reluctantly; since they are both "outsiders" in their family, she feels an odd kinship with him. Li'l Bit goes to college, and is surprised to receive gifts from Uncle Peck in the mail, along with letters counting down to her eighteenth birthday.

When she turns eighteen, she confronts Uncle Peck. He has been hoping to finally have sex with her now that she is a legal adult, but more than that, he wants her to marry him. Li'l Bit refuses and permanently severs their relationship.

Narrating as an adult, Li'l Bit reveals that she was eventually expelled from college and that Uncle Peck drank himself to death. However, looking back on her experiences, she has learned to forgive Peck for his wrongdoings. She concludes that he did give her something valuable: the freedom she feels only when she drives.

Productions

How I Learned to Drive was first produced by Vineyard Theatre (Douglas Aibel, Artistic Director; Jon Nakagawa, Managing Director) in New York City in February 1997. It was directed by Mark Brokaw, the set design was by Narelle Sissons, the costume design was by Jess Goldstein, the lighting design was by Mark McCullough, the original sound design was by David van Tieghem, and the production stage manager was Thea Bradshaw Gillies. The cast was as follows:

The Vineyard Theatre production, in association with Daryl Roth and Roy Gabay, moved to the Century Theatre in April, 1997. The Male Greek Chorus was played by Christopher Duva.

A 1998/99 season production at the Arena Stage in Washington DC directed by Molly Smith

A 1999 production at the Mark Taper Forum in Los Angeles featured Molly Ringwald and Brian Kerwin.

A 2007 Production at The Playground in Duluth, Minnesota directed by Molly O'Neill. It starred:

  • Li'l Bit- Cheryl Skafte
  • Uncle Peck- Mark Smith
  • Male Greek Chorus- Keith Shelbourne
  • Female Greek Chorus- Carolyn Dick
  • Teenage Greek Chorus- Cassandra Proball

L.A. Theatre Works has produced an audio performance of the play, starring Glenne Headly, Randall Arney, Joy Gregory, Paul Mercier, and Rondi Reed. Published on CD, ISBN 1-58081-188-4.

Awards and nominations

[1]

  • The Pulitzer Prize for Drama (1998)
  • Off-Broadway Lucille Lortel Awards (1997)
  • Outstanding play
  • Outstanding Director (Mark Brokaw)
  • Outstanding Actress (Mary-Louise Parker)
  • Outstanding Actor (David Morse)
  • Outstanding play
  • Outstanding Actor in a play
  • Outstanding Director of a play
  • Performance, David Morse
  • Performance, Mary-Louise Parker
  • Direction
  • Playwrighting
  • Outstanding Off-Broadway play
  • New York Drama Critics Award
  • Best play

See also

References

  1. ^ Lortel listing

External links


 
 

 

Copyrights:

American Theater Guide. The Oxford Companion to American Theatre. Copyright © 2004 by Oxford University Press, Inc. All rights reserved.  Read more
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