Martyna Majok’s Profane, Poetic Play Explores Loss & Redemption

by K. Marguerite Caronna

Emilie Whelan skillfully conducts a quartet of talented actors in a play of consummate humanity in Oakland Theater Project’s production of Martyna Majok’s Pulitzer Prize-winning drama “Cost of Living.” Each character has their own distinct melody of longing.

Good hearted but unlucky Eddie (Daniel Duque-Estrada) starts the play with a stunning barroom monologue of searing loneliness. He straddles a barstool wearing working class boots and faux sheepskin jacket. His estranged wife has died, leaving him gloomy and bereft.

Eddie, a long-haul truck driver who lost his job for drunk driving, recalls nights on the road when his late wife kept in touch via texts. On the verge of divorce before the accident that left her paralyzed, Eddie needs redemption.

Time warps, shifting back to Eddie and Ani (Christine Bruno) negotiating a move. After an accident leaves her physically changed, Ani’s world is reduced to an apartment—and world—beige as a “paper bag.” Eddie wants to care for her. But his past infidelity has violated her trust. Eddie is quick talking and kinetic, in contrast to Ani’s forced immobility.

Yet, Ani is earthy and whip-crack humorous, shielding pain on so many levels. She wears a glittery sweater while strapped in a wheelchair. Eddie is a fan of YouTube and self-help, suggesting music as part of her rehab. Ani tells him that the melodies and rhythms of music trick her mind into searching for parts of her body she can no longer feel—a profound statement about the power of music.

Across town John (Matty Placencia) who has Cerebral Palsy, interviews Jess (Carla Gallardo) as his potential caretaker—a jagged, tetchy encounter. In contrast to Jess’s functional garb, John wears elegant designer clothes. John is pursuing a doctorate at Princeton—on scholarships. Jess works in bars. She is as desperate for employment as John is reticent to surrender the care of his body to a stranger.

Jess’s Princeton education left her without skills for gainful employment. She sleeps in her car and sends money to her ailing mother. A jazz soundtrack backs their staccato interactions—sometimes distracting from Majok’s superb dialogue.

The set designed by director Emilie Whelan includes a shower stall, tub/bar, sink, and bed, backed by a window. Lives have been pared down to physical essentials. What is left but the soul’s desire for compassion and human contact?

Both Placencia as John and Bruno as Ani provide courageous performances as they participate in the timeless ritual of bathing. All bodies are sacred.

Jess’s washing of John is perfunctory. But attraction hovers.  Jess anticipates a date and a place to stay.  A love story emerges, seducing with hope, despite John’s classist snipes. Is she simply his useful employee?

In contrast, Eddie washes Ani’s inert body with breathtaking reverence. When Ani surrenders to his care, his intimate tenderness creates a poignant, hallowed moment, the tub an altar. A heart stealing scene.

“Cost of Living” circles back to bereaved Eddie. A chance encounter provides the characters with a longed-for connection, as sometimes happens in life. See this song of longing and grace. Enjoy the gift of these outstanding performances.

“Cost of Living” by Martyna Majok, directed & designed by Emily Whelan, costumes by Marina Polakoff, lighting by Kevin Myrick, sound by Ray Archie, by Oakland Theater Project, at FLAX Art & Design, Oakland, California. Info: oaklandtheaterproject.org – to March 24, 2024.

Cast: Christine Bruno, Daniel Duque-Estrada, Carla Gallardo, and Matty Placienca.

Banner photo: Christine Bruno (Ani) & Daniel Duque-Estrada (Eddie). Photos: Ben Krantz Studio