Tag Archives: matthew mcvarish

Walking the Road to Change: Ending Child Sexual Abuse


roadtochangeIf you’re a long-time reader, you’ll have seen my review of Matthew McVarish’s TO KILL A KELPIE – a play about two brothers, the abuse in their past, and their present-day relationship. Today, I want to tell you about Matt’s latest project: a 10,000 mile ([insert appropriate Scotsman/Proclaimers/I Will Walk 500 Miles joke here]) walk across Europe to highlight the importance of ending child sexual abuse.

Matt and I were at drama school together in Edinburgh, and I’ve been a fan of his dramatic work for years, and last year he was instrumental in getting my ten-minute play MILLENNIAL EX into the right hands for its production at Glasgay in Edinburgh, Scotland. His work has consistantly highlighted social justice movements.

Matt has been working non-stop for the last few years to raise awareness of child sexual abuse and how to help stop it. Currently, he’s three months into a his walk – and he’s been blogging and sharing his journey every step of the way.

I’d like to ask everyone to take a moment and check out Matt’s blog about his journey. If you have a few dollars (or pounds), consider donating to the cause or to Matt’s efforts as he walks.

map-largePlease share the blog and Matt’s mission with those you know who might be interested. So far, his reception at countries in Europe have been nothing short of astonishing, with ambassadors accompanying him on the road; his outreach is having real effects.

Read about his adventures, and help spread the word!

For more information:

Road to Change blog
– Help Matt’s mission succeed with walking supplies

 

Rachel Gets Interviewed: ANY OBJECTIONS and “Millennial Ex” in Glasgow

I wrote a play called Millennial Ex last year, shortly after marriage equality was legalized in New York State. Over the course of the last year and a half or so, I’ve been working with Matthew McVarish to take Millennial Ex and build out a larger program of work for premiere at the largest LGBT theatre festival in the UK: Glasgay 2012.

The show, which includes work by writers from the US, UK, Canada, Indonesia, Zimbabwe, South Africa and more, is intended as a snapshot of LGBT marriage equality issues around the world. If you’re in Scotland this weekend, I highly recommend you check it out.

Otherwise, you can learn more about the show in this interview I gave on the Glasgay blog.

 

Edit: Within minutes of posting this blog, I was made aware of this recent news development in the story of a gay couple who was refused a room at a British B&B several years ago. Thanks to @MishMashInk for pointing out how ANY OBJECTIONS is relevant to the questions being raised in the real world.

THEATER REVIEW: “To Kill A Kelpie” by Matthew McVarish

First, to declare a bias – Matthew McVarish and I were at drama school together in Scotland, and I’ve previously reviewed his sold-out debut show, One man went to busk (it’s the second review on the page). In addition, he and I will be working on a project about marriage equality together later this year for Glasgay 2012.

That said, I’m pleased and lucky to be able to say that this new work, To Kill a Kelpie, offers an hour of drama both light and dark, and is a strong piece of theatrical art with a message. Co-produced by Poorboy Theater company Stop the Silence: Stop Child Sexual Abuse (where McVarish is also involved), and executive produced by Pamela Pine, the show is directed by Sandy Thomson.

The evening unfolds in two parts: first, McVarish’s hourlong drama about two brothers who finally break their own silence as regards something that was done to them both many years ago, then a guided discussion including representatives from various organizations that try to deal with ending sexual abuse.

As one might expect, there is heaviness to this drama. How could their not be, given the topic at hand? And yet McVarish’s script makes a conscious decision to take place in its own moment, as two brothers try to find a way of communicating through the silence that has plagued their adult relationship. As they try to understand what was done to them, the different coping mechanisms they ask themselves and the ways in which they parse the events that took place while they were children reveal two men who have each, in their own way, carried the scars of their abuse for years. Additionally, the quickness with which the two brothers reconnect lends itself well to lighter moments: this is not a play where the audience should be afraid to laugh from time to time.

The play asks uncomfortable questions: one brother reveals that he’s struggled to even recognize his own sexuality over the years, because he had tangled up the acts perpetrated upon him and his own desire to love other men. The other denies any feeling of having been affected, although it slowly becomes more obvious that, in fact, he has. Both brothers have found their relationships to others, particularly children, impossibly strained as they constantly try to sort through their own baggage.

Performers McVarish (as Fionnghall, the brother who seems, on the surface, to b e more of a loose canon) and Allan Lindsay (Dubhghal, who has returned from doing aid work among tsunami-afflicted natives somewhere quite far away) navigate the questions their characters ask themselves with honesty and frankness. Some parts of their conversation are uncomfortable: one admits he is afraid his sister doesn’t want him around her children, the other terrified he may have the potential to cause the same damage enacted upon him onto another. Forgiveness, revenge, therapy and repression are all tried as the characters range for coping mechanisms; in the end, it is conversation – speaking about their trauma, and about how each has begun the journey of unpacking that trauma – that offers the best hope for healing.

As the play draws to an ambiguous ending, the audience is invited to take a few moments to stretch before heading into a follow-up discussion. Led by Pamela Pine, the discussion first invites comments and questions from audience members before asking audience members if there’s anything they think they might do differently in their lives going forward. Aside from stressing the importance of parental and community involvement to determine when children might be at risk, the discussion also creates a space where audience members are invited to share their own stories of surviving abuse.

What was remarkable about this portion of the evening, to me, was the clarity with which one could see how To Kill a Kelpie had created a space where audience members, whose ages covered a large range, felt they could speak openly about experiences taking place around them. On opening night in New York City, audience members spoke – some at length – about how positive they found the play, and about how well it communicated emotions that echoed reactions they’d had to their own experiences.

For more information about Stop the Silence: Stop Child Sexual Abuse, you can visit their website at www.stopcsa.org. To Kill a Kelpie will run in NYC through April 15th, first in the East Village before heading uptown. More details are available on the production’s website.