Whatever scenario Doug Wright had in mind when first he interviewed Charlotte von Mahlsdorf with the aim of writing a play about her, we can safely assume it was something more conventional than his prismatic meta-biography, I Am My Own Wife.
Wright’s single actor, multi-character opus won the Tony Award for Best Play and the Pulitzer Prize for Drama in 2004, more than a decade after Mahlsdorf first began recounting her strange (and possibly tall) tale into his tape recorder. Along the way, the playwright grappled with a Berlin Wall of writer’s block, beguiled by premise-thickening revelations about a subject he’d initially hoped to venerate as a hero. But the complexity that so confounded him turned out to be the very thing that gives his play about a cross-dressing furniture collector in fascist East Germany an unlikely universal resonance.
Director Alan Paul’s absorbing new Signature Theatre production of I Am My Own Wife is — sorry — an ideal marriage of performer and material, entrusting its 36 roles to the versatile craftsman that is Andrew Long. Biographies seem more suited to the solo-performer approach than do other kinds of stories: We are vast, we contain multitudes, etc. Continue reading