Theatre Review: Children of A Lesser God Challenges The Worth of Social Pity

Directed by Kenny Leon, Children of A Lesser God (COAG) shines a light on an often ignored and painfully marginalized group: the disabled. In this this world, the thought of having a physical handicap is treated like a nightmare, which may explain why so many forget that what you deem would be “the worst” is actually someone’s normal. At Studio 54, Children of A Lesser God shows the problem with labeling someone as “disabled” is that, because their difference is your less, you treat it as such.

Lauren Lidloff plays Sarah: a feisty, 26 year old woman who feels confined to the deaf institute she cleans, studies, and lives in. Her and her friend Orin, also played fiercely by John McGinty, feel like social stowaways; not even a allowed to teach sign language, their primary language, to fellow deaf people, but still fully demanded to learn how to speak words they will never hear. It is this hypocrisy of being overly-protected while being emotionally ignored that riles Orin and Sarah; what is the point of having so many people hover over and pity you if none of them see you are a fully fledged human being? Just because you have to take different routes to get to a destination does not mean you have not arrived. The problem is, in this world, being different can get you ostracized to never get anywhere.

Notice I used the words “feisty” and “fierce” to describe Orin and Sarah. Both Lidloff and McGinty shine in obliterating stereotypes that the physically disabled are spiritually down or dumb, which is an assessment they constantly face, even by Head of Institute Mr. Edwards (played charmingly and cruelly by Anthony Edwards). His character may be secondary, but he claims one the most important points written by COAG playwright Mark Medloff. When Sarah and Orin sue Edwards and the institution, he already knows they will win, but he also knows it is for moral show and will not summon systemic change.

The desire to look charitable without actually being it is another crux to this tale that plays powerfully to our times, and to the central romance James Leeds (Joshua Jackson) and Sarah. Joshua Jackson is absolutely amazing in Children of A Lesser God. Learning sign language is, like any other language, not easy, but it also takes extreme dedication when speaking. When speaking, you have the tendency to just give up or forget that you need to use your hands because your mind starts running thoughts that seem only fast enough for your mouth keep up. Thus, the fact that he learned his lines, learned sign language, then learned to pace both into James’ character is incredibly impressive, and aids James as a charismatic and sympathetic character.

I fell in love with Sarah and James. I could watch Lauren and Joshua play these characters’ love story on loop; right up there with Romeo and Juliet. There is a tragedy to their romance because it is not easy to love someone whom is not just emotionally different from you but physically, as well. As Sarah’s husband, James is naturally protective of her, and with her deafness it becomes doubled. Naturally, Sarah becomes frustrated at people’s pity and domineering over her “well-being”, which has been a nuisance to any opportunity of independence. She expects James love to be an escape from that, and, at times, it can be. There are plenty of scenes gorgeously played to show these two, both characters and actors, are electric together. Thus, I felt torn as to whether James pity of Sarah was such a bad thing?

We, often, look at pity with disgust or insult. Yet, pity is a natural, emotional response, and if it opens up someone to helping and bettering you than it is not bad. The problem is when it stifles you and your chance to grow. While so many people stifled Sarah, you feel uneasy about putting James’

love/ pity in that category. Joshua Jackson gives the character such a noble, caring nature, and Lidloff’s sparkling wit helps you understand why the two fall in love; they strengthen each other. The problem is nobody sees white, hearing man James as in need of strength while black, deaf Sarah is socially and permanently categorized as helpless. I’d like to say that these lovebirds soar over social barriers and labels, but the reason Children of A Lesser God succeeds as a romantic play is because it shows, sometimes, love is not enough. Sometimes, society can really destroy a happy home. For More Information On Children of A Lesser God Click Here. The show plays till September 9, and includes English subtitles.

Located: Studio 54
254 West 54th Street
New York, NY 10019

DURATION
2hrs, 20mins
1 Intermission