With the many emotions, responsibilities, and challenges that come with being a caregiver, a new play presented by (VFP) shines a light on creating a hopeful community for those who are tasked with caring for others.
“Who Cares: The Caregiver Interview Project,” at Universalist National Memorial Church in Northwest D.C., exposes the many nuances of caregiving.
Based on a 2023 study by , 100 million U.S. adults function as caregivers, providing care for a child, parent, or other relative. Working Americans who care for loved ones are predominantly women, at 56% versus 44%. These figures are daunting.
Co-written by Ari Roth, A. Lorraine Robinson and Vanessa Gilbert, the characters in “Who Cares” go through various personal scenarios. This production references places and agencies in D.C. that play a role in local caregiving.
“I think so many things come into view,” said Robinson, also artistic producing partner for VFP. “You need people in your corner advocating for you and asking questions.”
Six actors take on multiple roles in this play: Kelly Renee Armstrong, Lise Burneau, Laura Shipler Chico, Kendall Arin Claxton, Joelle Denise, and Todd Scofield. On the evening I attended, Llogan Paige filled in for Kelly Renee Armstrong.
The production revolves around a caregiver support group.
Group members speak about what they are tackling. Some group members talk freely about their situation, while others avoid revealing many details.
The common thread within the group includes anxiety about how to manage, curiosity about their loved one’s healthcare issues, feeling unsuccessful in managing a job and caregiving, and how to keep up a facade that they are managing the caregiver role until something blows up.
Bringing ‘Who Cares’ to Audiences
The script for “Who Cares” is based on approximately 700 to 900 pages of transcripts from caregiving workshops around the D.C. area. Some of the participants were from the theater community.
“Most did have some exposure to caregiving issues. That certainly informed our participants’ understanding of the material and their approach,” said Robinson.
Another resource for the cast and crew to build a well-rounded understanding of caregiving was the book, “The Measure of Our Age: Navigating Care, Safety, Money, and Meaning Later in Life” by . The D.C. area author was available to the team to broaden their perspective about caregivers caring for themselves.
“We learned about things that happen through care from the caregivers’ point of view and the government’s point of view to convey through the whole dynamic of the play,” said Robinson about Connolly’s involvement
The Universalist National Memorial Church stage was set in a square, with the audience seated in a bleacher-like arrangement. The actors rearranged their chairs to move between scenes and the different characters. The bleacher arrangement made it easy to see the audience’s reaction. Many were deeply moved.
The actors and pacing of “Who Cares” were exceptional. Switching between multiple roles in a play can be confusing, but Director Kathryn Chase Bryer masterfully transitioned the actors between their characters.
Personal Connection to the Action
Ron Kampeas, who lives in Arlington, Virginia, attended “Who Cares” with his adult son Nathaniel.
He said he connected to the play’s storyline as Kampeas and his family were caregivers for his wife’s aunt.
“She was living in a three-story walkup in the area, which was ridiculous,” said Kampeas about his wife’s aunt’s housing arrangement. “She had lived in Greece within a small Romanian community, so Nathaniel learned to speak the language of my wife’s aunt, and he would talk to her.”
They eventually got his aunt out of the three-story walkup apartment.
“She stayed with us for the last 18 months of her life. She had signs of dementia, and she was immobilized.” continued Kampeas. “It was a mix of worry, but I wouldn’t trade those 18 months for anything because we loved her so much.”
Performances for “Who Cares: The Caregiver Interview Project” continue through Feb. 2. General admission is $45, with discounts available for groups, patrons under 30, affinity groups, and artists.
The play is approximately 2-1/2 hours with a 15-minute intermission. The church does not have an elevator. There are only steps to get to the theater from the inside.
For more information and tickets, visit.