Life often imitates art.
The horror on television screens during the nightly news is just as tragic as the scripted drama of films. So the argument is that reality takes its cues from the misery presented in the media.
"The Garage Dialogues" performed by the members of OmniRootz, a theater company, proves dramatic effect is not less heart-wrenching when real life takes the stage. The show will be performed this weekend and Dec. 6 and 7.
In 2001, the death of homeless man Greg Biggs shocked the nation. One fateful October evening in Texas, Biggs was struck by the car of an intoxicated Chante Mallard. Mallard, fearing legal consequences, took Biggs, who was stuck in her windshield, to her garage where he was left to die.
People planning to see the "The Garage Dialogues" might expect the stage interpretation of Biggs' death to be presented as a gory re-enactment. One might assume the play would feature the collision, and perhaps illustrate Mallard's consumption of alcohol and illicit drugs. That's not what "The Garage Dialogues" is all about.
OmniRootz's original performance provides a context for the Texan tragedy. Set in Mallard's black neighborhood, "The Garage Dialogues" takes audiences into Mallard's life.
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The piece does not excuse Mallard's actions, nor does Unchantay, the character based on Mallard, excuse herself or apologize. It is Unchantay's neighbors who present the most compelling defense.
They don't speak of Unchantay's situation, rather they examine their own. They talk about racism, slavery, poverty, social and environmental injustices. They verbalize the sorry state of the world, their despair and their lack of hope for a better existence.
The poignancy of the "folks from suburbanhood" is enhanced by the nature of the characters' speech. The neighbors appear from their windows or take the stage to recite original poetry written by OmniRootz members.
Virginia Hampton, who plays Unchantay, contributed to the script with her poetry. Her pieces include "A Hot One" (2003), "One of Those Days" (2001) and a piece co-authored by Stephanie Willis called "An Act of God" (2003).
The multitasking abilities of cast and crewmembers are commonplace for the OmniRootz troupe. The character based on Biggs, Mr. Loman, is played by the ensemble's bassist Mark LeClaire. Poet Willis is also the performance's director and set installer.
Though the group is stretched over numerous responsibilities and the budget and small performing space restricts the production, the integrity of the piece is not compromised. Rather, it is enhanced.
Out Ch'Yonda provides a stage to the troupe. In a room of about 30 mismatched chairs, the audience bears witness to the group's "live art." The set construction is basic and several characters are compelled to remain onset, occasionally unlit, for the entire performance.
The setup is unquestionably unique, but then, so is the performance. Overall, the home-like space provides a better stage for the work than a cold theater ever could.
From her prison cell, Unchantay cries in bitter pain. She does not cry because of her incarceration, she cries because she is unheard. Her crime is "too extreme, too obscene" to be heard or understood.
In her final monologue, Unchantay speaks of the crime that has led to her imprisonment. She does not refer to it as an act or a crime, but a journey. It is likely a revelation for audience members to consider the path that leads to tragedy.
"The Garage Dialogues" leaves audiences to ponder the issue of justice. Chante Mallard was sentenced in 2002 to a 60-year imprisonment. She is guilty of murder, and is now doing her time, but the play asks, who does the time for the crimes committed against her people?
The What, When and Where
What: 'The Garage Dialogues'
When: Saturday at 8:15 p.m., Sunday
at 3:15 p.m. through Dec. 6 & 7
Price: $10 or best offer
Where: Out Ch'Yonda
929 4th St. SW
Tickets and info: 385-5634
