Overtones by Alice Gerstenberg

Overtones is a short and sweet script that I feel was a great was to kick off the semester. Alice Gerstenberg has made her way onto my list of loved playwrights. With the characters of Harriet and Margaret, and their primitive selves Hetty and Maggie, Gerstenberg definitely broke the rules or conventions of the normal (for lack of better words). Gerstenberg uses Hetty and Maggie (Harriet and Margaret's conscience) to own a physical body that can not only be heard, but seen by the audience. I think this was a brilliant move as it allowed us as an audience to better comprehend their relationship and inner struggles. The "if, when, where, and by whom a character can be seen/heard" relies heavily on the text, costume choices, and stage directions. The text and conversations show the direct relationship between the physical and conscience selves of each character. One who is privileged to read the play can see "cultured woman" and "primitive self" indicating the difference between the two. However, and audience who cannot read the play but may perhaps be watching a production of Overtones are introduced to the relationship by the opening of Act I as Hetty says, "Harriet. Harriet, my other self. My trained self." This also applies with the color coordination of costuming linking the cultured self to the primitive self.

The relationship between Harriet and Hetty (and Margaret and Maggie), because it is a conscience self, can only be heard. Harriet and Hetty can hear each other, but cannot see or touch one another. Nor can the primitive selves of Hetty and Maggie see, touch, or hear each other, but can only communicate through their cultured selves of Harriet and Margaret. There are very few moments where this created boundaries seem to be breached and it is questioned if Hetty and Maggie can actually hear each other, or that their conscience mines are only assuming the true reactions beyond what their cultured selves are trying to portray.

I thoroughly enjoyed this play.