Jasper Howard

‘The Call’: waiting, fretting, hoping

Profile Theatre opens its season of plays by onetime Portlander Tanya Barfield with a drama about adoption and Africa and the uncertainties of life

When the call finally arrives, it’s not as if Annie’s jumping up and down for joy. She’s been waiting and waiting, and stressing, and having double-triple-quadruple thoughts, and … well, as the Gershwin boys put it, let’s call the whole thing off.

Or not. That’s the problem. Life is full of maybes, and at some point you’ve got to have a solid yes or no. But how do you get there?

The Call, the first play in Profile Theatre’s new Tanya Barfield season, opened Saturday night at the Artists Rep complex, and suggests a season of playful, contemporary, issue-oriented, and curiosity-driven theater to come. It’s part domestic drama, part cultural-conflict theater, part situation comedy, part mystery thriller, and always smart and engaging. And it introduces Portland audiences to one of the city’s own: Barfield grew up here before moving to New York, and went through school at the Metropolitan Learning Center, and has been a Pulitzer nominee, but has never before had one of her plays produced here. Suddenly, an entire season is about to rectify that oversight.

Howard and Soden: the talk before The Call. Photo: David Kinder

Howard and Soden: the talk before The Call. Photo: David Kinder

In The Call, Annie is a woman of a certain age, an artist who’s more or less put off her career because it conflicts with her job at a museum, and who has also put off having a child until, it seems, it’s biologically too late. So she and her husband, Peter, have decided to adopt, and they have a line on a baby about to be born in Arizona, but the young mother seems likely to keep the kid, and so Annie, almost on impulse, decides they should adopt from Africa: so much poverty and sickness, so many orphans, so many needy kids.

Continues…