It is not the house that makes dreams; it is the family that makes it the dream house. “The House I Call Love,” written by Steve Feffer and directed by Harry Waters Jr., is the story of Sammy (Christina Thuli), a 12-year-old girl who struggles to preserve the memory of her father and the things he valued.
“The House I Call Love” is about love and the importance of family. The play is a funny and cute kids’ show that both parents and children will enjoy. For children, the play teaches them to appreciate the values behind objects, rather than the external worth. But for adults, the play focuses on contemporary fads with a humorous twist.
Thuli takes on the role of Sammy with grace and ease and presents herself with the mindset and vigor of a young child. Her vocal variation, combined with her energy, makes it obvious her character is not going to give up. Her physical movements add to the colorful performance, proving that Sammy is determined to succeed.
The set design of the “house” is colorful, vivid and bright, resembling a cheerful house as seen in many children’s cartoons. It is designed to bring out children’s imaginations and their views of the world. These bright colors create an aura of warmth that stresses the theme of family.
By having the children, Sammy and Nathan (Mason Hill), wear bright solid colors, the actors seem more youthful and appeal to the younger audience. Bright colors allow children to relate the performance to their imaginations. To the children, the actors then seem to be one of them, drawing in their focus and interest.
The performance opens with a mall development video, promoting profit and materialism. Dozier (Solomon Lieberman) is the mall developer who seeks to purchase and tear down Sammy’s house to build a mall. He believes he can gain the family’s support by presenting them with a large check. Sammy’s mother Zoe (Denise Cotton) refuses the offer and sends Dozier away. Sammy and her brother, Nathan, while playing off to the side, overhear the offer and express their concerns differently. Nathan is captivated by the thought of toys and video games, lured into the deceptive advertisement.
Sammy recalls the story behind the house and her promise to her father that she would take care of it. As a child, her father was determined to buy the house that was always filled with songs of joy. Despite being mocked, he managed to one day realize his dream.
Sammy, determined to keep the house standing, writes a petition and a letter to the local television station for assistance. However, she is unsuccessful; others mock her and deem her “mall girl.” Despite all, Sammy’s perseverance and determination keep her moving. She refuses to give up.
Among the most memorable of Sammy’s struggles are with a reporter who quotes, “Give me mall or give me death!”; with movie producer Saul Sprechus (Joe Binder) and his talking superhero dog Rover (Rachel McPhee), who is really an actress with a passion for Shakespeare; and with pop star Rocky Burger (Adam McNulty), who represents the boy-band craze.
Amidst all the chaos, the mayor (Katie Knutson), arrives not to help, but to flatter Saul Sprechus, hoping to land a role in his latest film. She gives away keys to the city as if they were candy to obtain the best “business opportunities” — a hilarious example of how advertising dominates the world.
Aside from the message of the play, Waters’ directing adds depth and takes the script to a new level. By using contemporary fads, music and sounds, such as the popular song, “Who Let the Dogs Out,” and America Online’s “You’ve Got Mail,” Waters presents the audience with a humorous interpretation of the results of advertising.
