Love Jerry
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at a glance:
A musical drama that combines highly theatrical songs and movement sequences with naturalistic dialogue and characters, Love Jerry grapples with the long term effects of child sexual abuse in a family.
what it needs:
This play is ripe for production.why you should produce it:
It's a timely, Brechtian-style musical that provokes audience discussion about a tricky topic. It's an unflinchingly honest and ultimately redemptive story told in a highly theatrical style. It's ideal for a theatre that is socially and politically conscious and artistically risk-taking.jump to:
synopsis
Running time: approx. 90 mins.
Music, movement, and drama converge as two adult brothers grapple with past trauma and current tragedy in this music-play about child sexual abuse. Jerry is likeable and shy; his brother Mike is a macho family man. When Jerry is accused of sexually abusing his young nephew, the brothers must confront the dark side of what it means to love someone.
Dreamy movement and song interweave throughout the story, creating a highly theatrical work. As Jerry wends his way through the justice system and the subsequent mandatory therapy, the brothers must reconcile their love for each other with the grim circumstances that force them apart.
This play contains strong language and mature themes, and may not be suitable for young audiences.does this play condone child abuse?
This play has been dubbed, "the pedophile musical," which conjures up images of a "Springtime For Hitler" style romp. Some have expressed understandable concern that this play might send the message that child abuse is somehow okay.
"Love Jerry" does NOT in any way, shape, or form, condone or exonerate child abuse. Quite the opposite.
The play is not so much about child abusers as how child abuse affects a family. According to Prevent Child Abuse Georgia, an organization aimed at preventing child abuse before it happens, 90% of child abuse is perpetrated by a relative or close friend of the victim's family - it's someone the child knows and trusts. This play illustrates some of the early warning signs of abuse with the hope that it will educate the audience to recognize these signs if they (God forbid) ever come across them.
This isn't a typical musical - there are no tap-dancing child abusers, nor does the play make light of this very serious and important issue. The play is actually a very small, quiet, and honest look at a problem that is plaguing this country. "Love Jerry" has been endorsed by Prevent Child Abuse Georgia (the organization I mentioned above) and Stop It Now!, another abuse prevention organization. For its January 2006 premiere, Actors Express Theatre company has partnered with these two organizations to create literature the audience can take home with them, educating them about child abuse prevention, as well as hosting nightly post-show discussions about the topic after each performance.
The absolute LAST thing my colleagues and I want is to send the message that child abuse is somehow okay. It isn't. This is an issue very close to my heart, and it is my greatest desire that child abuse in any form be eradicated. If as a writer I can shine a light on this topic and promote dialogue about prevention, then all the better.
cast requirements
3 M, 3 W
singing roles:
non-singing roles:
one female actor plays these roles:
music requirements
The heart of this piece are the choral arrangements. The harmonies and counterpoint melodies sung by the cast create the tone of the play and convey the characters' emotional arc.
This play has been done quite simply with one musician switching between acoustic guitar and accordion. Alternatively, a creative pianist can arrange a rich piano accompaniment.
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production history
productions:
- Actors Express Theatre Company, Atlanta, January 2006
- Finalist, National Alliance of Music Theatre's 2005 Festival of New Musicals
- Dartington College of the Arts, England, June 2004
- Brockett Theatre, UT Main stage Series, October 2003
- Nominated for seven B. Iden Payne Awards (tying as the show with the most nominations), including Outstanding Original Script, Outstanding Original Score, and Outstanding Production of Music Theatre
- Nominated for five Austin Critics Table Awards, including Best New Play
workshops:
- UT New Works Festival, April 2003. Dir: Rick DesRochers
- Kennedy Center Playwriting Intensive, Washington, D.C., July 2002.
- LA Repertory Company, Los Angeles, August 2002. Dir: Alexis Chamow
readings:
- Alliance Theatre, Atlanta, GA, January 2005
- UT Monday Night Readings Series, September 2002, November 2001
why there is no comma in the title of this play, and why it matters
Think of the title as a complete sentence. It’s an imperative sentence, like, Go to the store. Eat a cookie. Love Jerry.
A comma changes the meaning and turns the title from an imperative sentence to a signature. “Love, Jerry” implies the close of a letter or a message that’s been sent “with love from Jerry.” Love, Jerry would be a good title for Jerry’s memoirs, maybe. But this play isn’t a memoir.
This play isn't even about Jerry. Or rather, this play is not about who Jerry loves; it's about who loves Jerry.
Can we love a person who has hurt us so deeply? Specifically, can Mike love his brother? This is the dramatic question of the play. Adding a comma to the title confuses the central issue and dilutes the power of the imperative.
That measly little comma grinds the gears of the play to a halt, shifts the spotlight from Mike to Jerry, and ruins the thrust of the machine. It's awful. It's a bad, bad comma. I hate that comma.
Think what errant punctuation could do to these classic plays:
- Who's Afraid of Virginia? Woolf!
- Top, Dog! Under, Dog!
- Romeo and...Juliet?!?
I think I've hammered this point suitably far into the ground. It matters. It matters because it matters.
Love Jerry. Love Jerry! Love Jerry? Love...Jerry? Love! Jerry! LoVe jeRRy.
Any way is better than the comma way.
Love, Megan.
Love Megan.