The end of the modern world, or: The Cat’s Meow

photo by Testaduro Media, LLC

by Jeff Grygny

Everyone must envy cats at least a little. Their animal grace, insouciant self-centeredness and power of surrendering completely to relaxation makes them plausible role models for humans in these fraught times.

We can’t totally envy Wink, the title character of Jen Silverman’s surreal tragicomedy currently in a well-mounted and heartful production by The Constructivists. The catastrophe that strikes Wink initiates the action of the play, which is so full of surprising turns that to describe them would be to commit unforgivable spoilers. Suffice it to say that the feline plays a catalytic role in the lives of all three non-animal characters. The contrast between human and animal, and the dire consequences of alienating our animal nature, provides the flesh and gristle of the play’s themes. Eerily creepy and wryly humorous, Wink is a perfect show for the Halloween season.

Sofie and Gregor are ordinary modern people of a slightly earlier time: he works in an office, she does housework at home. They are modern in that they have no animal grace, no insouciant selfishness, and no power to surrender completely to relaxation.    

At first it seems like the play is going to be a quirky domestic comedy. Director Jaimelyn Gray has coached her actors’ opening scenes towards a cartoonish delivery that mirrors the characters’ strangeness to themselves. In fact, this is not a realistic play at all– rather, it stages a dreamworld that seems to be trying to tell us. . . something, if we could just break the code. As the couple, Rebekah Farr and Ekene Ikegwuani show us two deeply unhappy people, whose secret depth is revealed only in their separate sessions with a therapist, Doctor Frans, played with clueless sincerity by Matthew Scales. His staggeringly bad advice—with repeated emphatic instructions to take their feelings and “Slam them down,” show him as a minor priest in the modern ideology of service to the status quo. When each of them confesses urges to commit unspeakable violence, Frans dismisses them, telling them that their duty is to just go back to their jobs.

As the fourth character, Jaime Jastrab gives us the uncanny essence of a vengeful domestic pet (or maybe its ghost?) and, in later scenes, gives Frans instructions on getting in touch with his animal nature, which are ludicrously basic, yet seem to come as revelations to the  feckless expert. These scenes, like “self help from a cat,” make up the warm heart of the play, and are most illuminating as to the playwright’s possible alliegance. But they are soon followed by apocalyptic episodes of Sofie and Gregor’s metamorphoses from modern people into uncanny beings whose intentions come from a place of the mysterious, irrational roots of human nature. Soon the Ikea-furnished living room is littered with the wreckage of civilized life, as the couple descend into primitive and far from socially sanctioned behavior.

This ground has been tread before, in plays as diverse as “The Zoo Story,” and “Equus.”  But Silverman skins this cat in a new way. She doesn’t romanticize mental illness, nor does she really even seem to be interested in clinical case studies. If anything, the play is a winking red light warning us of what can happen when we subsume our animal needs to serve what society tells us we should be. Maybe, with his new-found insights, Frans will be able to integrate human and animal natures, and help Sofie and Gregor claw their way back to humanity. Maybe he will join them in their dangerous fantasies. That would be another story.

In the meantime, when we wonder how so many people throughout the world can rebel against expert authority, deny science, become prey to demagogues who appeal to their lowest instincts, why people can commit mass shootings, or what could compel someone don horns and animal skins in a futile coup attempt, we could reflect on this story, and how the modern way of life subtly mutilates us all.

The Constructivists present


by Jen Silverman

Directed by Jaimelyn Gray

Set and Costume Design by Sarah Harris

 Set Construction by Les Zarzecki

Lighting Design by Ellie Rabinowitz

playing through November 6

This production contains adult subject matter. Viewer discretion strongly advised.