Written & directed by Debra Whitfield
Remember Somewhere in Time, featuring Jane Seymour and the late Christopher Reeve at the peak of their talent and beauty? How about Time After Time, in which H.G. Wells falls in love with a forthright bank clerk while chasing Jack the Ripper across 1970s San Francisco? The once popular time-travel-meets-romance subgenre is due for a 21st Century reboot, and playwright/director Debra Whitfield is just the person to do it. Bringing a decidedly contemporary sensibility to her an era-hopping heroine search for fulfillment, Whitfield examines both our gadget-addicted society and the evolution of women’s rights over the past century.
TECH SUPPORT begins with scenario we’ve all found ourselves acting out at one time or another. Antique bookseller Pamela Stark (Margot White) having one of those days where absolutely all of her “smart” devices simply refuse to work. She calls tech support, but only succeeds in getting stuck in circuitous maze of automated option menus. When she finally reaches Chip (Ryan Avalos) she is overjoyed just to hear a human voice. Opening up to Chip, Pam admits she feels nostalgic for a time “when going viral meant catching a communicable disease and trolls were just dolls with funny hair”. As the saying goes, be careful what you wish for. After accidentally pressing the wrong button Pam enters a surreal swirl of digital imagery and finds herself, like a modern-day Dorothy, plopped into the center of an unfamiliar world.
The creatures she encounters here, though, are hardly munchkins. They’re just regular Americans in old-fashioned garb. Slowly Pamela comes realizes what’s happened. She’s in the same location, but the year is 1919. In this slower-paced milieu, people’s demeanor is far more hospitable and polite than what we’re used to in 2019. Yet the atmosphere is no less politically charged. Two energetic young ladies, Grace (Lauriel Friedman) and Maisie (Leanne Cabrera) are busy demonstrating in favor of a controversial new policy proposal: votes for women. Affable boarding house proprietor Charlie Blackwell (Mark Lotito) jokes about this new proposal, but seems fine with the fact that women’s suffrage has already passed in New York (the imminent ban on alcohol is more irksome to Charlie). He’s actually a decent sort, old school views notwithstanding, and has seen his share of personal tragedy. Pamela takes him up on his offer of a job and a room, and for a moment it looks like she might just find contentment among these kindhearted villagers. Then along comes an unpleasant reminder of just how much those seemingly simpler times differed from ours. When unmarried Maisie finds out she’s pregnant by her boyfriend Chip (Avalos), her options look bleak, possibly even life-threatening. While attempting to counsel and comfort Maisie, Pamela inadvertantly activates the time machine again and…
She lands in 1946. The war is over and the American economy is booming. Women, who got out of the home and went to work while the men fought overseas, are feeling a new sense of power. Grace, older but no less vital, is rising rapidly in the political sphere. The demands of the job have taken their toll on her marriage to Charlie, but neither one wants to throw in the towel just yet. Pamela helps by taking a job on the campaign alongside Maisie’s son, Chip Junior (also Avalos). The two banter, flirt, go on dates and – uh oh! – fall in love. Panicked at the thought of that this inter-era romance can’t possibly work, Pamela jumps to disco-driven 1977. A more vocal form of feminism is now taking flight as embodied by ERA activists Lupe and Tori (Cabrera and Friedman) and the now famous Senator Grace Blackwell. But all is not well at campaign headquarters. Here the story enters It’s A Wonderful Life territory as Pam confronts the aging Chip, Jr., clearly a man whose destiny would have been different his one true love hadn’t chosen to time-jump out of his life at the worst possible moment. Pam is faced with a dilemma. Should she chronoport to 2020 and let the whole escapade vanish like a dream? Or go back and fix the midcentury mess she left behind? This time Tech Support can’t help. Pamela will have to silence her electronics and listen to that still, small voice inside.
Both in her script and direction, Whitfield wrings laughs and tenderness out of the culture clash between her FOMO-driven protagonist and the practitioners of a more thoughtfully-paced way of life. The cast, anchored by White’s endearing Pamela, bring warmth and wit to their sociological and personal arcs. The story’s journey through history is made colorful and convincing by the well-researched and visually appealing achievements of the gifted design team. To be sure, there are a few puzzling aspects of TECH SUPPORTS’s take on American history. For example, the only time men we see men getting handsy or inappropriate with their female colleagues is in the supposedly more liberated Seventies. Perhaps there’s something to be said for the notion that something of chivalry and courtship was lost as greater equality was gained, as journalist Kay Hymowitz and others have posited. But we don’t get as much exploration here as the topic deserves. This minor complaint aside, though, TECH SUPPORT does a marvelous job of delivering a much-needed reminder that, regardless of the times, the human heart is the only smart device any of us really need. Or, as H.G. Wells declares in Time After Time “Every age is the same. It’s only love that makes any of them bearable.”
Scenic Design ……………………………..Natalie Taylor Hart
Costume Design …………………………Janice O’Donnell
Lighting Design ………………………….Deborah Constantine
Sound Design ……………………………..Ed Matthew
Sound Design Consultant …………..Carlene Stober
Projection Design ……………………….Elliott Forrest
Hair & Make-up Design ………………Inga Thrasher
Prop Master ………………………………..Cyrus Newitt
Dramaturge …………………………………Benjamin Viertel
Casting ………………………………………..Stephanie Klapper, CSA
Photo credit: Russ Rowland
TECH SUPPORT continues through Sept 21, 2019 at 59E59 Theaters, 59 East 59th Street, between Park & Madison Avenues, New York, New York. Tickets: http://www.59e59.org