djonn: (woods)
[personal profile] djonn
[curses oversensitive post-nuking netbook keyboard]

[deep breath]

Now then.  This was the first of two world-premiere productions we saw on Saturday.  Sweat is written by Lynn Nottage, and concerns a handful of industrial plant workers in Reading, PA as they deal with upper management's efforts to break the union.  There are two mothers, each with a son, one with an ex-husband, plus the bartender and busboy at the tavern where they hang out after work.  Most of the action takes place in 2000 (the date being tied to the ratification of the NAFTA trade agreement), but there's a framing element that occurs eight years later.

As the summary may suggest, the script's political slant is about as subtle as King Kong climbing the Empire State Building.  That said, Nottage's real story lies less in the politics -- however strenuously tilted -- and more in the tensions that arise when well-intentioned people make choices that force them into unwanted opposition to one another.  One conflict arises when one mother is promoted to a low-level management position both have been fighting for...and is promptly forced to help implement an anti-union lockout against her friends.  Another occurs when the Hispanic busboy takes a strikebreaker's job at the plant (the pay, unsurprisingly, being far better than his busboy's wage), thereby angering both of the locked-out sons.  Strong performances all around make it clear that none of these characters want to be at odds, but are propelled by circumstance into confrontations from which feel unable to back away.  I'm not sure how well this show might hold up in the hands of a less talented company, but for OSF, it's a compelling if uncomfortable presentation, executed thoughtfully and with conscience.

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