Con-Con’s ‘We Are Continuous’ is the essence of great theater

Simon (Noah Christopher) is a young gay Black man. He has been aware of this fact from a very early age when he felt an attraction to a fellow male grade school student. It took until he was sixteen for him to come out to his parents. His mother, Ora (Sherri Tolliver), while not happy with Simon’s decision never the less accepts it because that is what good mothers do. They unconditionally love their children no matter what. Ora is Simon’s champion, defender and friend in spite of her strong religious beliefs (“A belief isn’t a belief unless you hold on to it – even when it’s hard.”). Through Ora, we learn that his father Hoyt being a devout Christian as well refuses to accept his son’s sexual identity suggesting Simon seek psychiatric help.

Harrison David River’s semi-autobiographical “We Are Continuous” opens with Simon explaining how his mother would meticulously set the dining room table for each meal. Everything on the table as in life had to be carefully placed. Throughout the show when Ora is in her home we hear the sound of the family clock as it loudly ticks the seconds and on occasion gives a dramatic chime to emphasize a passage. This unseen clock becomes a symbol of the entire 80 minute play as Ora and Simon have grown ear dead to the sound of the clock much like they have done so to the comments from friends and family over Simon’s gayness. We of the audience however are much attuned to the clock’s sound as well as the repeated comments slung by the community.

The story is told about when a young Simon was cast as Atticus Finch in “To Kill A Mockingbird” and the reaction of students, friends and neighbors to the choice of a Black youth portraying a white character. Ora goes on the war path against the community, the school board and the school itself until her son is accepted. He in turn give a stellar performance which further encourages him to pursue a life changing theatrical career. The entire show is in fact a collection of tales much like you would hear when attending an intimate family gathering or were out for drinks at a cafe. They have a natural flow that makes the dialogues that more believable.

The riff between father and son deepens at an early age when Simon rebels against his father’s soccer coaching technique eventually giving up the sport despite his show of promise. Simon also decides to pursue a theatrical degree in college deepening the gaff. In spite of the lack of his father’s moral support, Simon upon graduation manages to become quite successful in his field being able to travel from coast to coast. The most tender portion of the play is when his mother travels to be with Simon as he is recovering from a vicious knife attack from an errant lover. It is her shining moment in the sun.

Enter Abe (Michael J. Montanus) as great detail is given into how they met and fell in love. Abe is a quiet sort (except for his snorting laugh) who acts as the voice of reason between Simon and his parents. When they get engaged, Simon’s parents refuse to attend. Eventually Ora is won over by Abe and is able to accept their union in spite of her religious misgivings. These stem from a blatant misinterpretation of the Old Testament (Leviticus anyone?). This ancient Mosaic law was replaced when Jesus began his ministry teaching that we were to love everyone unconditionally. This meant no matter what (even our enemies or people who were different from us, had new and strange cultures and beliefs or followed their own desires for love).

The show reaches a dramatic climax when an ill Simon receives a dreaded diagnosis that is further complicated by a horrible reaction to the multiple medications as the pair are on their way to visit Ora and Hoyt.

Conspicuously absent from the cast is the character of Hoyt, the father. I would have liked to have had him on stage in order to dig deeper into his fears. But alas, I am not the playwright. Sherri Tolliver as Ora is totally convincing as the conflicted mother. With opening night there was some hesitation and flubs but I am sure they will disappear as the cast gets more exposure to a live audience. Noah Christopher as Simon, the son has presence even when the spotlight is off of him. He leans his head as if listening to his mother’s words for the first time. Michael J. Montanus as the doting husband manages to have a no nonsense approach to the relationship and is natural in the role.

The show is carefully directed by Jeannine Gaskin and Lauren Lash who maintain an even pace throughout. Scott Zolkowski handles the sparse scenic design which works to help us focus on the actors rather than the stage set. The interspersing connecting jagged lines painted throughout the set seem to emphasize connectivity as well as series of breaches or splits. It is much attuned to what the characters are dealing with.

Forget for a moment that this is a gay play. Look at it instead as a representation of the evolution of acceptance by friends and family. The acting is at times genuinely funny, at times poignant, at times dramatic, at times tragic and at all times totally entertaining. This is what theater is all about...exposing us to ideas no matter what our thoughts or beliefs may be. It will be time well spent.

The Convergence-Continuum production of “We Are Continuous” will be on stage in the Liminis Theatre at 2428 Scranton Road in historic Tremont in Cleveland, Ohio through August 31, 2025. For more information and to purchase tickets go to https://www.convergence-continuum.org/ or call (216) 687-0074.