Anything New,“not Here”

Julieta Flores Romero

The room is silent. 

The energy building at the center of the room mimics the growth of a fireplace with flickering flames crawling on skin. 

Every sound is amplified, “Can I help you?” breaks the silence. 

Doug Kaback, a professor of theater at California State University, Northridge, originally wrote the play “NOT HERE" in 1999. “NOT HERE” is a modern catalyst for uncomfortable, but necessary conversations originally designed to discuss youth violence, drug and alcohol addiction and stereotypes affecting their community. 

Twenty-five years later, mass shootings have surged in the United States, along with dismissals of the LGBTQ+ community and the growth of vocalized white nationalism. 

According to Associated Press, the U.S. has experienced 587 mass killings since 2006. Thirteen of these have occurred this year, as of March 31. 

Music Director John Buonamassa, composer Jeffrey Izzo and Kaback have revitalized “NOT HERE” as a musical to continue the exploration of modern social issues and opposing perspectives. 

“I've been working on this now for over a year with this music professor,” Kaback says. “We’ve been doing a whole process at CSUN with students to figure out the story that we want to tell and really trying to respond to what's happening in our culture today.”

The jazzy beat, the snapping of fingers, it’s almost enough to make you forget the severity of the situation. “Duck and cover,” snap, snap, “duck and cover.” The melody is beautifully harmonized, and the beat is joyfully infectious. 

Sam Sterner, a student at CSUN, explains it’s important to have this dichotomy when discussing heavy topics. Sterner plays “Timothy,” a character he describes as an obstacle rather than a villain. The paradoxical approach to the subject mimics the mental and emotional haze that follows tragic events. 

The effects of disinformation, echo chambers and filter bubbles online are seen through his actions as they correlate with ideologies associated with white nationalism. His actions include attacking a Black drill sergeant and alluding to bringing a gun to the ‘Triple C’, a community center and safe space for members of the LGBTQ+ community.  

“NOT HERE” is a workshop production, meaning revisions are constantly happening to fully encompass and represent the current social landscape. 

Kaback lights up as he explains the process of workshopping a play and the depth of discussions that arise in rehearsals. 

“A story is not just about rehearsing a play, it's also about going into these issues and talking as human beings to each other. Not just as artists, but as human beings who come from very diverse backgrounds,” Kaback shares.

Nya Harris, CSUN student and choreographer for “NOT HERE,” works with actors and fellow peers Michael Campbell and Tyler Fitzgerald to add dimension to the musical's spoken word performance “Integrity.”

Fitzgerald plays the character “Lava,” a non-binary member of the LGBTQ+ community, who is a counter to Timothy. In an hour, they improvise and solidify movements to energize the text. 

Each word and its accompanying movement is fueled with intention, as the character projects the meaning of having personal integrity in a society filled with contradictions. The performance poses questions of what it means to remain true to yourself, as one discovers different layers of complexity within themselves and surrounding perspectives. 

“We can all learn from each other,” Campbell said. “We are all more connected and have a lot more in relation to each other than we actually think or that we actually may admit.” 

The growing political polarization in the United States and the rise of social media has made it difficult to listen to each other, with a mutual goal of fundamental understanding. The musical play acknowledges these differences and the tensions between ‘opposing’ communities. 

Book bannings, inadequacies in media literacy education and legislation such as Florida’s “Don’t Say Gay” Bill freeze the ability to build and rebuild previous academic and social advancements. 

“There's a whole song in it called ‘Culture Wars,’” Kaback shares, “recognizing the divisions that exist because of politics in our country. And how can we bridge that divide so that we can recognize our shared values? How do we come together?”

 The play’s three-hour rehearsals are in the late evening, twice a week. 

As the first performance date approaches, the precise choreographed stage movement known as blocking, and the use of simple props, re-ignite the energy that previously filled the room. 

The cast and crew consist of students who have rapidly approaching final examinations and projects. 

Slow blinks and contagious yawns fill the air. 

It is difficult to gauge the audience’s reaction to the blunt reflection of the world around them. Campbell’s insight hits the core purpose of a play like this.

“It's art, so art reflects reality. Unfortunately, a lot of the subject matters in the script are still relevant today,” Campbell said. “But it's also a good thing that it's, in my opinion, relevant to today, because it can start a conversation around those who are different and what it means to actually be different.”