Sarah Treem’s The How and the Why explores some interesting topics in the way that science is practiced today, most notably, the apparent lack of interest in aspects of human biology that are specific to females: why does menopause occur? what function does menstruation serve towards the perpetuation of the species? But the piece suffers from a severe case of theatrical compression that compromises its believability.
Zelda Kahn (played by Liz Pierotti), a senior professor of evolutionary biology, meets for the first time a young unpublished researcher (graduate student? post-doc? the text isn’t clear) named Rachel Hardeman (with whom she shares a past that will come as little surprise). After some awkward moments that owe something to Oleanna, Rachel is invited to explain the gist of her research, which she does in a spirited monologue (played well by the passionate Nora Achrati). Although Rachel doesn’t yet have the data to back up her hypothesis, after one or two gently probing questions Zelda becomes a champion of her work and arranges for Rachel to present at an imminent conference—an slot has opened up unexpectedly. Look to plays such as David Auburn’s Proof for a more nuanced look at how minds are won in math and science; aha! moments like this don’t happen.
There’s also some confusion in language. The characters toss around the word “abstract” to refer to Rachel’s work, as if it comprised all the methods, evidence, reasoning, and citations. Anyone who’s ever cracked a journal understands that an abstract is no more than a précis of one paper: 150 words that tell you why you want to read the whole article.
The second act takes place after the conference, where the two scientists meet in a seedy bar (well designed by Richard Montgomery: nothing says underground rock club better than a row of 12×12 columns plastered with old show posters). Rachel’s youthful reaction to the Q&A after her presentation is plausible—she feels personally attacked, and is considering abandoning her research—whereas Zelda’s exhortation to buck up and continue working is undermined by Pierotti’s tentativeness in her role. Zelda needs to show more starch. On the other hand, her wisdom is an effective foil to Rachel’s fresh inventiveness.
- The How and the Why, by Sarah Treem, directed by Lee Mikeska Gardner, 1st Stage Theatre, Tysons Corner, Virginia