TheaterWork’s The Wolves Features Society of Teen Girls
Teenagers are a gold mine for authors—they combine such conflicting elements in their personalities. Half adult and half child, they can be inquiring and well-informed while at the same time woefully ignorant. Emotionally they can leap from joy to despair in a second. The same teen can be kind and generous, and in an instant become cruel.
It’s no wonder that playwright Sarah DeLappe looked to a group of teen girls playing soccer for the play The Wolves. The title comes from the team name. Just as William Golding and others have done, adults are missing from this society that the girls have created within their team.
These are very good players. They are playing indoors on a club team and are looking forward to their travel team come spring. For those not involved in youth sports and soccer in particular, this means that college scouts are looking at them as they play various tournaments and college “clinics.”
This group of girls play in the Under 17 classification which means they are 16 or just turning 17. Most are high school juniors, the year when the recruiting is in earnest and colleges can, under NCAA rules, sign players.
We see the girls before several games. As they warm up and do various drills, competing conversations take place. We only know the girls by their numbers, which can at times be confusing.
Kind and Cruel
During the opening conversations, we learn that #7 is the loudest, the most self-assured, and the most “advanced.” She swears often and talks about celebrating her up-coming 17th birthday by going away for the weekend to her dad’s ski lodge where her college-age boyfriend will meet her. Then there is the “new” girl, #8, who has just joined the team. No one knows much about her, but she seems years younger than #7. The same is true for #46, who is trying desperately to fit in but has a tendency to make comments that don’t quite follow the conversational leads. In addition there is #11, who is the de facto leader of the group and runs the drills, and #00, the goalie who is driven to seek perfection.
At times the conversations seem random. They talk about school work, particularly about a course some of them are taking on genocide. It’s interesting to hear them talk about the Khmer Rouge (one can’t pronounce it) and the Armenian genocide (#14 is of Armenian descent). But just as you are thinking how adult they are, the conversation will switch to menstruation and feminine hygiene products, boys, and other things.
They are by turns kind to each other and cruel. Secrets emerge during the 90-minute play. One girl has had an abortion, another’s mother has breast cancer, a third girl is embarrassed that her mom is considered “hot.” There’s also talk of the stoner brother of one, and the fact that #00 vomits before every game.
Of course, they talk about the coach is who is apparently off on the sidelines. They view this coach as a “loser” and claim he is often inebriated or hung over; they long for their former coach, Patrick, who left the team to move back with his mother who is battling cancer.
It all builds to a game at which a college scout (from Texas A&M) is there to scout a girl on the opposing team. But three of the Wolves are called over to speak with him; the others are crushed to be excluded and not considered good enough.
The climax of the play is the injury to #7 during a game; she blames the captain for not having them stretch before, but it turns out that although her ankle was injured she went skiing during her birthday weekend. Now that her ACL is torn, she will need surgery and could easily miss the upcoming season. And, perhaps predictably, there has to be a tragedy that is revealed in the last scene.
Although some of the conversations may be off-putting to some of the audience, you do develop a liking for these girls. You care about them.
Overall the cast is excellent. These young actresses do a terrific job, though a few of them look older than 16. In the case of Olivia Hoffman, who plays brassy #7, that’s OK. She does an excellent job with this girl who is obviously rebelling. But Emily Murphy, who plays the captain (#25), also seems older than her years in both appearance and manner. She is a “take charge” woman; her new haircut at the end of the play may be a form of coming out.
Rachel Caplan is excellent as #14—she is shy and trying to fit in, but finally is willing to speak up for herself. She is #7’s willing sidekick. Karla Gallegos, who plays the driven #00, is more off by herself than part of the total group. After all, the goalie does stand alone. But each of the performers is excellent and it is hard to mention just one or two.
Eric Ort has directed this with a sure hand. The girls perform drills, stretch, and jog while talking. Mariana Sanchez has created a turf soccer field that slopes up in the back. It is the perfect backdrop for this play.
Overall The Wolves is a fascinating look at teenage girls and sports. Because of the language and some of the subject matter, the play may not be suitable for younger audiences; it is recommended for 14 and up, though they may be somewhat embarrassed at times.
The Wolves is at TheaterWorks, 233 Pearl Street, Hartford and has been extended through Friday, Nov. 10. For tickets, visit theaterworkshartford.org or call 860-527-7838.