What drives people to want to hurt others? Perhaps it’s violent movies, violent television shows, violent computer games or society in general. Then other times, it is everything and nothing in particular.
The answer presented to that question in “The Columbine Project” is more aligned with the latter. The play, written and directed by Paul Storiale, runs Sundays in February at the Avery Schreiber Theatre in North Hollywood. Through real sound bites, nonlinear narrative and character testimonials, the play is a comprehensive look at the events preceding, during and following the 1999 Columbine High School shooting.
That day changed the lives of Americans across the country. School, that haven of safety and education, was forever disrupted when two boys, Eric Harris and Dylan Klebold walked into Columbine High School in Littleton, CO, and killed 12 of their classmates and one teacher.
After the tragedy, blame was placed on everything possible: the boys’ parents, their friends, the music they listened to, the games that they played, bowling. The play is wise to avoid all of these scenarios, opting instead to keep the reasons ambiguous.
Most of the individuals portrayed were based on real people. And while it would have been easy for the play to sentimentalize or vilify certain individuals, each person is instead given a chance to share his story and to let the audience understand the relevant circumstances.
Mrs. Harris (Karen Praxel) ““ the mother of Eric Harris and the figure who was blamed the most following the tragedy ““ is seen as a loving, attentive individual, always willing to believe the best of her son, an act of faith which inevitably leads to tragedy.
Perhaps the hardest roles to play were those of Klebold (Kevin Day) and Harris (Bryan Fox). Popular entertainment has commonly identified with the anti-hero; just look at “Sweeney Todd.”
Yet through Day’s and Fox’s powerful portrayals, the audience is not being asked to sympathize with them. Instead, they are being asked to understand that in the brains of these misguided boys it was the right thing to do. That is a hard pill to swallow, and the play is courageous in presenting it.
As such, the greatest compliment must be paid to Storiale, who went through an enormous amount of research to keep the play accurate. He was able to effectively enter the minds of these boys and the people around them, without having to degrade into melodrama and dramatic irony.
The monologues are the strongest part of the play. The monologue of Rachel Scott, (Sara Swain), one of the victims, is particularly moving in its simplicity. The audience genuinely believes that her maxim to move the world through “simple acts of kindness” will save her life and somehow redeem the boys.
But this is real life, not Hollywood. Scott was the first victim of the massacre, a devout Christian who was both accepting and kind. But does that mean that kindness is not enough?
The play would say no. It merely means that sometimes, when evil acts are committed, it is kindness that bring people together, that allows them to survive tragedies and heartache. And that is the most powerful message that “The Columbine Project” leaves its audience.
Many lives were shattered at Columbine that day, not only the students but their families, their friends, and whoever saw the event on the evening news. The entire cast, no matter how big or small their roles, does a respectful job of portraying each individual related to the shooting, pulling the audience into the story and into the lives of the characters.
After all, they were not characters, they were real people and as such, their lives were similar to yours and mine.
“The Columbine Project” remains a respectful memorial to the event, and at the same time, provides a profound piece of theater that leaves the audience stunned, quiet and a little bit more understanding at the end.
E-mail Tran at dtran@media.ucla.edu.