Com vaig aprendre a conduir, directed by Marília Samper and translated by Helena Tornero, is based on Paula Vogel's book that won the 1998 Pulitzer Prize for Drama. Despite the years passed, cases of pedophilia are still too frequent. What can we say about a society that is not capable of eradicating this scourge?
Puritanism and a narrative structure that jumps in time
The plot is set in a town in deep America where the protagonist's family lives, Coseta (Mireia Aixalà). Puritanism and gender biases are evident. As examples, the nickname the protagonist receives at birth because she doesn't have a "coseta" (penis) or these misogynistic "pearls": "with these breasts, you won't have trouble finding a husband," "what need do you have to go to university?". An excellent breeding ground for a sexual predator like Uncle Peck (Ivan Benet).
With an interesting non-linear narrative that jumps in time, Com vaig aprendre a conduir establishes a parallelism between the driving lessons Uncle Peck gives his niece and life in general: one must learn to drive and always keep both hands on the wheel. These lessons extend from when Coseta is 11 years old until she goes to University and frees herself. The instructions and the traffic signs warn us that a sexual aggressor can hide at every turn in the road.
Good interpretations by Mireia Aixalà and Ivan Benet
Mireia Aixalà and Ivan Benet perfectly interpret two very complex roles. On the one hand, Coseta who describes in retrospect (from adulthood to eleven years old) significant moments of her life. With a candor that shrinks our heart. Innocent and helpless but above all trusting in a person who should protect her. Aixalà's great range of registers allows her to interpret with solvency both the role of an adult and that of a child.
Ivan Benet shows all the traits of a sexual predator who little by little, from the family nucleus, seduces Coseta. "We won't do anything you don't want to do," he tells her. As if a child were capable of intuiting the perverse intentions of an adult. A relative. An uncle. On the other hand, despite the situation, the effect Uncle Peck feels for his niece is evident. This fact makes him more human but, in any case, does not justify his reprehensible behavior.
This is something just between you and me. Don't tell anyone anything.
Just as the character of Coseta represents innocence, that of Uncle Peck moves between the ambivalence of someone who knows he is not acting well but is unable to control his primal instincts.
And a society that watches and does nothing...
Also, as happens in these types of situations, the family is not exempt from responsibility. The mother who drinks too much, the aunt who prefers to ignore what is happening, or the sexist grandfather who justifies everything. They become accomplices of Uncle Peck and at the same time bring dynamism to the play with funny scenes and musical moments. The young Alba Gallen on piano or mandolin, actor Blai Juanet on piano, and especially the hilarious performance by actress and singer Kathy Sey (The Sey Sisters).
The set design of Com vaig aprendre a conduir matches the fragmented structure of the text. Large wooden panels move continuously (perhaps too much) to recreate various scenes. Family conversations in the dining room, the laughter of schoolmates because of Coseta's large breasts (are we talking about objectification?), the photo session in the basement, the appetizer at the restaurant, etc. And especially the interior of the car where Uncle Peck teaches Coseta to drive, which is represented with just two wooden chairs.
In short, Com vaig aprendre a conduir is a denunciatory play, well-acted and directed, that must be seen and digested. Hopefully, one day we will be able to run over all the pedophiles in the world.
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