When I think about the Weston clan, it reminds me of an old piece of fabric worn thin and faded, the threads breaking, the weave separating. So thin, so thin now that you can see through it, only individual threads left.
This is the image I have in my brain at the end of Act One.
I think at one time they were intact even happy. Whole. The wear and tear happens over time as the hard realities of life pile up. Things begin to fray.
And that cycle of abuse and addiction is hard to break. I’m not defending Violet’s behavior. OK, maybe I’m defending it a little. But hey, we are all damaged in some way. None of us get out of this life without some pain, and Violet has had more than her share. So she has tried to escape it all, in a blur of booze and pills and Clapton.
It’s interesting that Violet relates more to Eric Clapton than to the poets that her husband Beverly so admires.
Vi and Clapton have more in common than one might think. He had a hard life, too. Clapton was raised by his grandparents who he believed were his parents, but actually his oldest sister who was 16 when he was born was his mother. She eventually married and left him with his grandparents. Clapton was troubled by romantic longings, and drug and alcohol addiction. And the very public loss of his son.
Unlike Vi he tried treatment many times finally finding success in the late ’80s.
Still, I think Violet recognized a kindred spirit.
Teresa is excited to be working with Utah Rep and Silver Summit for the first time. Most recently, Teresa played Martha in Pinnacle Theatre’s “Who’s Afraid of Virginia Woolf?” and “3” with Plan-B Theatre Company. She received the 2013 City Weekly Arty Award for Best Local Theatre Performance for Plan-B’s “Eric(a),” which also toured to Theatre Out in California and to the United Solo Theatre Festival in New York City, where it won the festival award for Best Drama.