Not everyone is going to like sitting through Paula Vogel’s Pulitzer Prize winning play “How I Learned to Drive” now playing at the Forestburgh Playhouse. The fact is that it will make many people feel very uncomfortable. However, the reality is that theatre has historically brought hard to discuss subjects into the spotlight; exposing them and discussing them. Theatre’s show and tell essence creates the ideal venue for controversial matters to be displayed, dissected and analyzed.

The story revolves around a long-term sexual relationship between a young girl nicknamed Lil Bit (Kristin Stokes) and her Uncle Peck (Edward Staudenmayer).

The plot bounces back and forth in time replaying slices of life that depict the relationship’s origin, progression and resolution (if you can call it that). Much of their alone time is during driving lessons which is a constant metaphor used throughout the play. 

An interesting note about the show is that it had an extended run Off Broadway in 1997 with stars Mary Louise Parker and David Morse playing the title roles. In 2022, both stars came back to play the roles again, this time on Broadway. There’s no doubt that the intimacy of the smaller venue during the Off-Broadway run worked so much better than the bigger Broadway house run. The Forestburgh Playhouse’s stage brings that closeness back.

There are an additional three actors who play a “Greek Chorus” – Amy Griffin, Lu Zielinski and Owen Corey take turns portraying various family members, classmates, girlfriends, as well as everyday folks. Their roles are not merely secondary, but actually serve an incredibly vital purpose in the storyline. Often times their characters quite blatantly provide an atmosphere of complicity and carelessness to what’s happening to Lil Bit. These performers do a very commendable job. It’s not an easy job and yet they push the narrative forward brilliantly. 

And the narrative isn’t what most would imagine if you were expecting to see a play about a pedophile and his niece. It doesn’t focus on the actual acts, but instead shines the spotlight on the environment in which these things happen. An environment full of family secrets, ignorance, apathy and don’t-wanna-know attitudes. The narrative also focuses on the complex emotions of family members and how these emotions can be manipulated by the right person who takes advantage of a situation; “Don’t listen to them. I think you’re beautiful.”

Mr. Staudenmayer delivers in a multi-faceted performance! There is nothing stereotypically evil in his Uncle Peck. Instead, we watch a fun guy, a loving uncle who listens to his young niece when no one else will. He’s flawed, has a drinking problem. But he always makes time for Lil Bit. Mr. Staudenmayer portrays a nuanced character. Someone who has a lot going on inside that head and plays every angle he can to get what he wants. And yet, he truly loves his niece, all the while grooming her and that makes his character quite unsettling to watch.

Ms. Stokes does the lion’s share in this production. Her portrayal is a force to be reckoned with. She is narrator from 11 years old to 39 and everything in between. She is the survivor. Or is she? You feel for her the moment she first introduces herself as that know-it-all 17-year-old who is the absolute opposite. She confides her secrets to us and cries when she is hurt or fighting the absolute confusion that envelops her in situations no one would ever wish to experience. Her evolution throughout the play as Lil Bit is mesmerizing, sad and at times not easy to watch.

This show isn’t just an eye-opener, it should be a wake-up call. From my own experience in law enforcement, I sadly acknowledge that this happens much more than I care to admit. Most people don’t want to know about it, let alone talk about it. But it’s out there. And many times, it’s right under our nose in an extended family situation or neighborhood setting. There are people reading this right now who know exactly what I’m talking about. This play successfully presents a serious problem. A problem that must not be overlooked or dismissed or hidden under the covers.

“How I Learned to Drive” will run through June 30. Tickets and info are available through the box office at (845) 794-1194 or online at fbplayhouse.org.