Four characters essentially composite portraits presented by a skilled and passionate cast embody the stories of countless real children living in run-down motels; children with broken families, children of immigrants, children whose parents have to take any work available just to make some ends meet. Through often moving soliloquies and dialogues loosely connected by, not so much a plot, but a common journey, Somebodys Children delivers a social critique with heart. Among the plays many targets: Racism, public education, television, and yuppie corporatism as manifested by the likes of Disney.
Discussing Poverty
In any discussion of poverty, however, theres a fine line between representing the obstacles faced by the poor and using these obstacles as crutches to perpetuate a cycle of helplessness. The intimate first-person nature of the play undoubtedly contributes to the impression, but the sheer number of issues raised often makes Somebodys Children seem like a whiny victims litany of excuses to avoid doing anything. This isnt to offer The Pursuit of Happyness as a philosophically correct portrait of handling poverty, however. As uplifting as it is to watch a down-on-his-luck fellow pull himself up by his bootstraps and who, other than compassionate conservatives, wouldnt want to see that? the film doesnt actually transcend its glib message of self-empowerment to provide a sincere examination of poverty. True, its not quite the right-wing condescension that the poor have only themselves to blame for their poverty, but The Pursuit of Happyness only tangentially acknowledges how a determined individual can only succeed given the right environment. In other words, just as it is not nature or nurture, but nature through nurture, it isnt a question of personal accountability vs. social justice, but a mutual influence of the two.
As a mirror image (of sorts) of The Pursuit of Happyness, Somebodys Children may gloss over without completely ignoring, it should be said some aspects of poverty, it is nonetheless very effective as a condemnation of those circumstances that conspire to keep people in poverty rather than assist them in pulling their bootstraps. The plays real target, then, is apathy or, more precisely, the fact that apathy both in general society and within the ranks of the poor has become so widespread that its accepted rather than overcome.
Functioning as an eloquent and forceful statement that, as the cliché goes, gives voice to the voiceless, Somebodys Children exists in the grand tradition of socially conscious art. Its worth the drive to Santa Ana to see a quality play that raises meaningful questions and challenges us to answer them.
Somebodys Children. Written and directed by Jose Casas. Starring Kristen Gull, Anthony Lucero, Valerie Rodriguez, and Charles Stampley. On stage at the El Centro Cultural Center, Santa Ana, Friday and Saturday nights at 8. Visit www.foundspaces.org for more information.
