By Shari Barrett
Written by Erik Gernand in the Fall of 2023, The Totality of All Things is being presented as part of Reflections on Art and Democracy, a celebration of plays and lectures in Los Angeles between March and November 2025 aimed at raising awareness about the rise of fascism and antisemitism, the power of art and design to resist them, and the confluence of visual and performative artworks to promote democracy. The play’s West Coast premiere by The Road Theatre Company in NoHo runs through May 10, directed with skillful integrity by Taylor Nichols. It is both thought-provoking and insightful about the nature of truth in modern society.
Gernand tackles thorny issues of journalism ethics, queerness, protest, small-town politics, and oppression in a deceptively simple manner, centering the play on Judith Benson who is “teacher-famous” for the award-winning student newspaper she proudly oversees at her small Lewiston, Indiana high school, a program that extols truth and integrity in journalism. Set in the time right after the U.S. Supreme Court ruled in favor of legalizing same-sex marriage nationwide on June 26, 2015, the play begins at the start of the school year when Judith decorates a bulletin board in her classroom with articles about the Supreme Court’s landmark decision. But when she, her teaching assistant Ms. Carter (Gloria Ines), and star Journalism student Micah (Victor Kallett making his professional theatrical debut) arrive, someone has painted a Swastika over the bulletin board articles.
That act of vandalism escalates into something with potentially deadly consequences, and the search for answers only leads to uncertainty about the very nature of truth itself. For much like our country is divided in two by political and religious beliefs from the right and left, which cannot find a common middle ground upon which to stand, Judith soon discovers her truth about marriage equality and what information needs to be revealed about the hate crime does not match with many of her fellow teachers, friends, or even Micah who has only come out to Judith, afraid to even tell his mother about his sexual orientation.
Pushed by the school’s Principal Benson (Carlos Lacámara) to cover up the Swastika and not talk about it to the media, Judith only agrees to cover it but not remove it, pinning a sign “Hate Crime Band Aid” on it which reflects her personal truth about the matter. Discussions follow between Judith and the other teachers, most often DeeAnn and Gregg (Gabriel Palma). who also is a Christian Pastor when not teaching at the school. Their discussion about hiding behind his faith rather than making the tough decision to promote “what is right” (according to Judith), threatens to end their friendship – as does a political difference of opinion between Judith and DeeAnn while listening to Ted Cruz during a televised news report.
After Judith assigns Micah to write a school newspaper article about the defacing of her bulletin board, a student uprising in front of the school leads to a right-wing local driving his 2-ton truck into the protesters, almost killing one. Following that incident, gut-wrenching conversations about revealing the perpetrator’s name, who happens to be the grandson of a School Board member and Micah’s friend since childhood, cause Judith and Micah to take opposite sides. It leads to a riveting, tour-de-force emotional confrontation by the two during which Judith uses her power as his supervisor and editor to tell “her” truth and reveal the name, even though Micah knows that person and understands the reason for what was done. So, whose truth really should have been followed? And what happens when emotions influence the truth we decide to tell?
I could go on and on about all the questions this thought-provoking play raised in my mind, some of which I discussed with the actors after enjoying their heartfelt and brilliant performances. But the one question I would like to ask the author is why was there no mention of Jews in his play when discussing the Swastika, World War II, and hate crimes? After all, that symbol represents a direct threat against their religion and its followers, not just Neo-Nazis protesting against LGBQT rights. It’s as if Gernand turned a blind eye to the majority of the first victims of that awful hate-filled symbol.
Tech credits are solidly mood-enhancing including Scenic Design by Mia Okada; Lighting Design by Derrick McDaniel; Projection Design by Ben Rock; Sound Design by David B. Marling; Costume Design by Jenna Bergstraesser; and Properties Design by Scottie Nevil.
Produced by Danna Hyams and Taylor Gilbert, The Totality of All Things continues Fridays and Saturdays at 8 p.m.; Sundays at 2 p.m. at The Road Theatre, located in The NoHo Senior Arts Colony, 10747 Magnolia Blvd. in North Hollywood. There will be two captioned performances for the deaf and hard-of-hearing communities on Sunday, May 4 and Saturday, May 10. Alternate cast performances on Tuesday, May 13, Wednesday, May 14, & Thursday, May 15, all at 8 p.m. General admission tickets for all performances are $39, or $25 for seniors and $17 for students, available at https://roadtheatre.org or by calling 818-761-8838.
