One of the best ways for an audience to learn a lesson is through laughter. Through crisp one-liners and hilarious scenarios, Bike America explores the idea of finding one’s self and how the pursuit is sometimes an excuse to avoid responsibility. The protagonist, Penny (Jessica Digiovanni), a 28-year-old graduate student, does not want to settle down with anyone nor does she want to finish graduate school. She is a rolling stone who believes that Boston is the wrong place to be and that she must explore America to see where she will fit in. Like many students, Penny is lost at her core and bewildered by the pressure of society. Her so-called boyfriend pushes for an apartment together and her parents can’t fathom why she doesn’t already have two kids and a house. Furthermore, she has no confidence, constantly reiterating that she is a “fuck-up”. She is a damsel in distress to men yet an independent woman in her own mind. The input of societal pressures producing the output of Penny the “fuck-up” is quite humorous but it makes this performance relatable and interesting.
Apart from Penny, the supporting actors and actresses fill the performance with life, each having a distinct and clear methodology for how to handle such an issue. Specifically, the character known as “Man with the Van” played by actor David Shih, plays such a small yet very important role. Apart from being a tough roadie, he turns out to be quite prophetic and wise with his advice. He is blunt and says ridiculously comical lines like the title of this article, “See ya later stinky bitches”, his signature line when he leaves the group to get back into his van. The audience loves him because he is a quiet, hilarious, older man. His advice to Penny reminds the audience that rather then finding oneself, accept who you are. He acts as the elderly man who has gone through such trouble to finally come to the conclusion that the purpose of life is not to question it, but to live it with confidence. His indifference and set way of life makes him all the more convincing and credible. The man with the van is a truly likable character who is a critical part of the story’s formation of a cathartic effect.
Also on the trip are Annabel (Marilyn Torres) and Rorie (Melanie Nicholls-King), a lesbian couple looking to get married in every state they pass through. Although this duo initially came off as fun and genuine, their poor acting in some of the more controversial scenes caused a poor delivery of their message of equal rights. The duo plays the overplayed roles of good cop and bad cop, in terms of their emotions, making their actions predictable and disengaging. Their roles calls them to be role models to Penny, yet their over exaggerated emotions and banter causes the audience to dismiss them as credible sources. Personally, I feel it is unnecessary to even have a lesbian couple in the play, as it was made too large of an issue, ultimately distracting the viewer from Penny’s metamorphosis. However, the actresses were precise in demonstrating to Penny what it means to be comfortable in one’s own skin. Overall, their performance was over-the-top and made certain scenes ineffective and awkward.
On top of Annabel’s and Rorie’s personal drama with the law, Penny is in a huge love struggle with three men, all on the trip with her. The three men all offer comic relief through their relentless and unique styles of seducing Penny. Unlike Rorie and Annabel, these three men tackle tough issues such as marriage, the fear of being alone, and the pursuit of happiness in a comedic and entertaining manner. They all touch base on a fear of being alone by liking Penny more when she neglects them. Although some men might find this offensive and degrading, the switch of predominant gender roles made the performance refreshing. It was nice to see the male role not be independent or fearless like popular media showcases men to be. Director Moritz Von Stuelpnagel emphases that despite gender, all humans have a desire for connection. By employing these three men in such a comedic atmosphere, this point is effectively made.
Apart from the overall genuine acting quality, other factors contributed to my content with the performance such as the scenery. The set was very low budget, with different hanging posters symbolizing different states such as skyscrapers for New York City and the Mississippi River Bridge for the state of Mississippi. Due to this, it was largely dependent on the viewer to imagine the scene as if it were actually occurring. I embraced this challenge and actually ending up really enjoying the scenery I fabricated. It is as if you are reading a book and imagining the scenery, except that in this performance you can see what you imagine. Some might say that the lack of detailed scenery and expensive equipment makes the play seem unprofessional but this method actually encouraged more individual artistic expression. To truly enjoy the comedy and plot, one must be able to capture his or her own imagination.
Lighting and sounds further enhance one’s plot imagination. Often times the lighting will mimic the sunset or unique geographical lighting to elaborate on one’s senses. The lighting crew vividly portrayed scenes from an ill-lit YMCA clubroom to the booming streets of New York City during rush hour. The audio group perfectly complements such vividness by adding on the sounds of the eerie blow of a warm Louisiana wind or the dramatic pass of a 16-wheeler semi-truck. When combined, these two cinematic forces formed more than scenery; they created a world.
It was this ability to imagine combined with the hilarious plot that really made me enjoy the show. Rather than retelling a cliché tale, the writers satirically wrote this story to emphasize that finding oneself truly means the ability to accept oneself for the person they always were. It doesn’t require travel or deep religious epiphanies; simply time and confidence will suffice. I highly recommend Bike America for those who want to laugh their way into wisdom.
