I would like to emphasize that this is dealing strictly with what I could gather of the script itself from watching the play, and does not, in fact, reflect my opinions of the acting, directing, or any other facet of the production that is not the script itself. As I say at the end, I thoroughly enjoyed the play, thought the actors did really well(especially the actress playing Lindsay. That was disturbingly amazing work. Kudos to you, Grace), and I was impressed with Dave's directing. I thought he pulled it off exceptionally well.
Sorry, I've had people mistake my script critiques as being directed at the actors before, and I just want to keep from being murdered :P. So, without further ado:
Buzz McLaughlin’s Sister Calling My Name is an intense, dramatic script that deals with questions of basic humanity, creativity, and faith. It follows the journey of Michael as he is forced to face his past and struggle with his own feelings of guilt, regret, and anger, and ultimately reunite with his sister.
At the beginning of the show, Michael informs the audience of what it was like for him growing up with a sister who was diagnosed with both schizophrenia and mental retardation. He glosses over a few disturbing stories of life with his sister. During his entire monologue, and most of the show, for that matter, Lindsey, his sister, interjects with a random phrase or word, indicating her intentions and desires.
The script makes liberal use of flashback, using it to slowly unravel the history of Michael and Lindsay, albeit in a non-chronological fashion. The quick changes in scene and time are done relatively well, and, with a small number of exceptions, are not all that hard to follow.
Perhaps the greatest weakness at play here is the “preachiness” of the show. It is stated quite bluntly that Michael has rejected God, blaming him for the hardships that he is put through due to his sister’s condition. The character of Sister Anne, Lindsay’s guardian and caregiver, serves as the moral compass of the show, guiding Lindsay to God, and striving to bring Michael back into the fold despite his initial refusal and cynicism.
Michael is a wholly unsympathetic character; or would be if not for the highly traumatizing experiences that he endured as a child. He is cynical and depressed, due to both the torment of his memories and the mid-life crisis he is going through because of losing his job and divorcing his wife.
Sister Anne is underdeveloped, though her past relationship with Michael before becoming a nun makes for an interesting dynamic. It also serves as a bridge to allow her into Lindsay’s trust.
Lindsay herself appears to be used as little more than a prop; the character in the background muttering about her paintings and desire to give them to her brother. Despite a few truly disturbing glances into the darker corners of her psyche, the character is mostly sympathetic when given center stage, displaying a child-like mentality and sense of joy and wonder.
The plot slowly begins building towards a dramatic climax of brother and sister meeting again for the first time in twenty years, the former harboring detest for the latter, who only wants to be loved. Unfortunately, this tension is dispelled the moment Lindsay steps onstage while Michael is spreading her art all over the floor, finally coming to terms with his emotions relating to his sister. All of his previous hatred and degradation of her is completely forgotten as he embraces her, and he instantly forgives both her and God, as well as Sister Anne, despite her manipulating him to see his sister.
Altogether, this isn’t a bad play, and is definitely thought provoking if the over-optimistic ending can be overlooked. It raises some interesting questions about value of life, defining humanity, and even the role of God in the tragedies of our lives. It could be served by stronger character development, and a less preachy tone, but it serves its apparent intended purpose well.