Community-based performances generally pair artists with local participants who together create spaces in which the values, struggles, histories, and desires of a community may be embodied through theatre. While such performances have a variety of purposes, ranging from animating communities, to giving voice to previously unheard stories, to working for specific changes, community-based theatre
... [Show full abstract] tends to be guided by three ideological prepositions: of, by, and for. That is, community-based performances are most often about a community, co-created and performed by and with members of that community, and performed for audiences from that community. While the audience for The Falls seemed to reflect primarily that of the Guthrie's subscriber base (at least on the evening that I attended), the collaboration did bring together six neighborhood groups to generate a production developed from community stories.
The Guthrie adopted Cornerstone's methods, particularly the use of story circles, in developing the script with local playwright Jeffrey Hatcher. Yet, while Cornerstone typically works with individual communities over the course of several years, bringing participants together through a culminating bridge show, the Guthrie's collaboration focused immediately on convergent communities. The Falls weaves together stories linked by proximity to St. Anthony Falls, located just outside the Guthrie's new location on the Mississippi River. The play models itself after Thornton Wilder's The Long Christmas Dinner, with multiple stories occurring in the same physical space though over the course
of long periods of time, with each story leaving behind physical traces, in this case food from picnics, as the performance progresses.
Time in The Falls moves fluidly rather than in a linear path; multiple histories overlap and converge as past and future are always present. The most interesting use of time, however, occurs when past, present, and future converge purposefully to create an alternate space of possibility. One such moment involves a young Somali immigrant, Nimo, and her mother Mariam. After a fight about her wearing the hijab, Nimo runs away. However, the fluidity of past–present–future allows a Nimo four years into the future to meet a Mariam from the past while their present selves observe. In this space of possibility, future Nimo and past Mariam, one pregnant and living in a car with her boyfriend and the other putting away her dreams of becoming a doctor because of an arranged marriage, encounter each other in a way that their present selves cannot. This connection allows their observing present selves to heal their broken relationship and reconnect. In another space of converging times, a contemporary Somali girl, Ayan, meets Father Louis Hennepin from 1680. Hennepin is having trouble communicating with the indigenous Dakota people and wants to return to France. Language barriers fall away in this space and Ayan convinces Hennepin to stay so that the land will be colonized and she will have a place to come when her family immigrates from Somalia. The future affects the past, and the past establishes a new present. Now St. Anthony Falls will be the home to many different communities who can come together to create this play with a nod to the colonization, war, and various cultural genocides that produce this possibility.
The Falls certainly reflects a performance of the six community partners. The chosen stories challenge stereotypes, mark changes, uncover histories, and celebrate values. The production was also created by the community partners in many aspects. Hatcher derives multiple histories and counternarratives from ongoing conversations with the communities. Performers from the communities also act alongside professional artists. But was this performance for the community?
The performance took place on the ninth floor of the Guthrie complex. While much of the Guthrie is open to the public, notably floors with shops, restaurants, and bars, the ninth floor is accessible only to ticket holders, by special elevator. The inaccessibility of the performance space may have put off some community audiences who are...