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“What does the idea of the sexual predator do for the rest of us, for those of us whose sexualities are allegedly non-predatory” asks Joseph J, Fischel, Associate Professor of Women's Gender and Sexuality Studies at Yale University in the programme notes for the play Downstate, staged at the Dorfman Theatre earlier this year. Well, once you come back from wondering why a man is the Professor of Women's Gender and Sexuality Studies it might be worthwhile thinking about sexual predators who might provide, as Fischel's title suggests “the comfort of monsters”.
The play Downstate by the American playwright Bruce Norris, takes place in a suburban home near Chicago which houses four former male sex offenders. The central conflict revolves around an adult victim of childhood sexual abuse confronting his abuser, his former piano teacher, elderly and wheelchair bound. The other residents of the house represent various other aspects of abuse and ways in which the abuser, as well as the abused, move on in life. Or not. Each of the four men stand for ways in which the abuser sees his acts; with an extreme response from one of the men who is unable to come to any understanding of his sexual abuse of his daughter.
Living up to its title, Downstate is not a polemic, but a thoughtful exploration of the various experiences, and in no way makes the main character, Andy, saintly or even likeable in his confrontation with Fred, his former teacher. Andy comes, accompanied by his wife, to confront Fred about the abuse. As the play develops the other residents become involved, as does Ivy, Fred's spirited and energetic social worker. Ivy provides a strong, robust female voice and thus a pleasant surprise. This nuanced and well-structured play, which benefits from excellent ensemble acting does not come to any easy conclusions. This may be one of the reasons some of the audience left at the interval and also the reason it was produced in the smallest space at the National Theatre.
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