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THEATER REVIEW Theater review: OSF's sublime 'Roe' respects all viewpoints Comment By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted May. 1, 2016 at 2:00 AM Updated May 1, 2016 at 4:20 PM By Jeffrey Gillespie For the Tidings Posted May. 1, 2016 at 2:00 AM Updated May 1, 2016 at 4:20 PM 'Roe' --> By Lisa Loomer Directed by Bill Rauch Scenic Design by Rachel Hauck Playing in the Angus Bowmer Theatre through Oct. 29 » Read more X 'Roe' By Lisa Loomer  Directed by Bill Rauch  Scenic Design by Rachel Hauck  Playing in the Angus Bowmer Theatre through Oct. 29 » Social News There was a palpable sense of anticipation in the halls of the Angus Bowmer Theatre this Thursday last, as patrons were forced to enter the performance space en masse and within minutes of the curtain coming up. If not a deliberate move, it was a clever one. The sense of going down the birth canal and into a space that was entirely different from whence one had came set the psychological stage for a piece of theater that is intensely visceral and rich with conflicts from a time and place that registers as simultaneously archaic and contemporary. Such is the nature of any issue so dissonant as the landmark ruling of Roe v. Wade — that legendary Supreme Court battle that resulted in an outcome of right to privacy laws extending to a woman's right to choose, and igniting a fight between conservatives and liberals, as well as many factions in between, that continues to this day. Considering the divisive nature of the subject matter, any audience member who entered into the fray of Lisa Loomer's brilliant new play might expect to have their assumptions challenged at a very basic level, and they would be right. It would seem that the playwright's intention has been to bring as balanced a commentary as possible to her audience, while avoiding the creation of a work of art that has had all the blood drained out of it for the sake of political convenience. Loomer plays no tricks; her "Roe" is a sublimely intelligent, unflinching and at times shocking look at the female experience in a time of blatant and hostile patriarchy. It would have been so easy for Loomer to write the play for the true blue patron — this world premier having opened in front of a reliably liberal West Coast audience. Applause was at its most generous when strong leftist opinions were voiced on stage. Horrified silence was the standard response whenever a character from the Christian right made an appearance. But Loomer and director Bill Rauch have ensured that none of the artists on stage lead their characters into the territory of caricature; the overarching theme in this production is one of balance and respect for all points of view. Case in point: Our two protagonists, Norma McCorvey (Sara Bruner), a free-loving, free-living, pansexual product of her environment, and Sarah Weddington (Sarah Jane Agnew), a full-time lawyer and sometime feminist who enjoys dabbling in era-specific sisterhood-dilettantism when she's not donning her shoulder pads and slugging it out in a man's world. Bruner and Agnew are pitch-perfect in their respective roles. Norma is a devil-may-care train wreck whose life is coming apart at the seams — she is pregnant, broke, alone, confused and malleable. Sarah is a career-hungry opportunist who seizes upon Norma's predicament to progress her own agenda, which ultimately leads to her arguing for abortion as a basic right in front of the Supreme Court of the United States. The character arc of the two unlikely compatriots forms the backbone of the action, as they both shape-shift to capitalize on their celebrity across multiple decades. The supporting cast is outstanding. Catherine Castellanos shows remarkable sensitivity as McCorvey's longtime partner, Connie Gonzales — as a lesbian woman in '70s America, she paints a perfect picture of silent strength under pressure. Jeffrey King as Flip Benham, a Christian radical activist who works against abortion rights for women, is adept at putting a human face on the often misunderstood motivations of religious conservatives when it comes to reproductive rights. Susan Lynskey as Linda Coffee, Weddington's bookish number two, nails the earnest and slightly comedic face of the insecure "liberated" woman during the early days of second-wave feminism. The remaining ensemble can be proud of what they have achieved in bringing the play to life. With great comedic moments, and many opportunities for profound revelation, viewers will agree that "Roe" is yet another worthy entry into the American Revolutions pantheon. A challenging, passionate piece of theater, it will leave you with much to think about, discuss and consider, regardless of your established opinion on the subject. And while it can be deeply uncomfortable at times, "Roe" does its job in showing a contemporary American audience just how hard fought our struggle has been towards a more perfect union. Loomer is an artist to watch. Your journey into her creative universe should begin with "Roe." —Ashland resident Jeffrey Gillespie is a Daily Tidings columnist, arts reviewer and freelance writer. Email him at gillespie.jeffrey @gmail.com. By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted May. 1, 2016 at 2:00 AM Updated May 1, 2016 at 4:20 PM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. Southern Oregon Directory Featured Businesses Loading... 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