Channeling Mom and Dad at their parting

Theater Review

October 23, 2011|By Laura Collins-Hughes, Globe Staff
  • From left: Robbie Collier Sublett, Jennifer R. Morris, Matthew Maher, and Caitlin Miller in the Civilians production of You Better Sit Down: Tales From My Parents Divorce.
From left: Robbie Collier Sublett, Jennifer R. Morris, Matthew Maher,… (T. CHARLES ERICKSON )

YOU BETTER SIT DOWN: Tales From My Parents” Divorce Presented by ArtsEmerson

At: Paramount Center Mainstage, Tuesday through Oct. 30. Tickets: $25-$75. 617-824-8400, www.artsemerson.org

NEW YORK - Even in this confessional age, it’s probably the rare parent who would consent to have the details of her marriage’s dissolution laid out onstage by her child.

But when the Civilians, a company that specializes in what it calls investigative theater, began making a piece about divorce, researching the actors’ own families seemed a necessary component. They interviewed other people, too, but as they workshopped the show, audiences responded most strongly to the performers’ conversations with their parents.

The Civilians’ new piece, shaped entirely from those transcripts and tapes, is “You Better Sit Down: Tales From My Parents’ Divorce,’’ which had its world premiere at the Williamstown Theatre Festival in August. ArtsEmerson brings it to the Paramount Center Mainstage this week for a six-show run beginning Tuesday.

“I’d spoken to my mom several times before that about the divorce and about details,’’ says Robbie Collier Sublett, who plays his Texan mother, Janet, in the show, “but I would not have had the carte-blanche badge of courage to venture into all the unknown territories that I was able to by doing this project. And she has said to me explicitly that she probably would have spoken about it to somebody else, but not in the same detail.’’

“You Better Sit Down’’ combines and intercuts sections of the interviews, which are performed as monologues by each parent’s own child. It’s a more natural transformation than one might think, the actors say.

“I feel like I’ve been preparing to play my mom my whole life,’’ Sublett says, sitting beside fellow company member Jennifer R. Morris in a restaurant on the Upper West Side. “I’ve been imitating her since as long as I can remember.’’

“I mean,’’ says Morris, a native New Yorker who channels her mother, Beverly, in the performance, “doesn’t everyone imitate their parents?’’

But not everyone asks their parents’ help with that, inquiring into difficult memories that will be shaped into a narrative for public consumption. The company’s previous projects - including investigations of evangelical Christianity in “This Beautiful City,’’ the notion of loss in “Gone Missing,’’ and the issue of urban development in “In the Footprint: The Battle Over Atlantic Yards,’’ which the Civilians performed at the Paramount last January - have tended to fit more comfortably with its preferred mode of journalistic reserve.

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