A moment of agreement by the board in Eureka Day at Island City Stage (Photos by Matthew Tippins)
By Oline Cogdill
Everything is political—especially now. Religion, health, medicine, clothes, food, naturally opinions and, of course, elections. Nothing, it seems, is beyond political scrutiny as shown in the equally funny, serious and timely Eureka Day at Island City Stage through Sept 13.
The Wilton Manors postage-sized theater—it seats about 69—often tackles big themes. That’s certainly true of Eureka Day, which possibly becomes more relevant every day.
The titular Eureka Day is an ultra-progressive California private school. Here, every voice matters, every opinion is to be respected, there is no right or wrong position. Diversity, equality, acceptance and inclusion are important. Those beliefs work quite well for this community until a case of mumps erupts, putting the public health in danger.
Everyone wants to do the right thing in playwright Jonathan Spector’s 2018 play that won the 2025 Tony for best revival. That lofty goal works well until personal beliefs collide with reality
The school’s executive committee has a policy not to vote on anything, acting only if there is a consensus—an idea that might work only if there is no controversy. That policy collides with a county edict to allow only inoculated children to attend school during a mumps epidemic—a rule that grates on some parents.
Spector’s strong script receives strong direction from Andy Rogow, who also is Island City’s artistic director. Rogow’s smooth hand keeps the comedy infused with the play’s serious aspects. The humor and those anti-vaccine beliefs are challenged when a child is put in an induced coma.
Rogow has assembled a solid cast molded to his vision to close out Island City’s 14th season.
Eureka Day is an ensemble piece but each character’s personality and quirks emerge as the five-person committee meets.
With his assortment of T-shirts, knee-length shorts and laid-back demeanor, Ted DeChatelet is hardly the epitome of the head of school, Don, but that’s the point. DeChatelet, an acting teacher at Florida Atlantic, uses his halting speech to depict a person so afraid of offending anyone. His irritating habit of starting each meeting with the ping of a bell reinforces his personality.
Maribeth Graham depicts an overly woke Suzanne whose whole life is wrapped up in keeping Eureka Day inclusive. She questions every suggestion, including the county’s edict, believing nothing is as open-minded as she is. Graham nails the humor that naturally flows from Suzanne while revealing the character’s prejudice she doesn’t believe she has. Yet Graham, a four-time Carbonell winner, shows another side of Suzanne during a heart-wrenching speech.
Rita Cole again shows her mettle as an incisive character actor who can do so much with a side glance, an eye roll or her tone with one word. Her character Carina tries hard to keep her focus solely on her child, but it’s hard with this crowd.
As Meiko, Jen Chia channels her anger and frustration into furious knitting. You wonder what she is making aside from a place to displace her feelings. Chia makes the most of revealing her personal life and her feelings about doing the right thing.
Brandon Campbell delivers the showy role of Eli, the “full-time father,” as if dads who don’t stay at home aren’t full-time parents. Constantly in motion, Campbell shows Eli is a bundle of unresolved nerves anxious over he and his wife’s decision to open their marriage, about his wealth after having cashed out on his tech start up and over his child’s health. His plan to resume an affair once the mumps crisis has passed shows how clueless Eli is.
Eureka Day unfolds through the series of committee meetings and one hilarious Zoom meeting with parents—or rather “Community Activated Conversation” in which little gets done. As with the executive committee, humor is layered over the serious, or attempts at serious, conversation.
Michael McClain’s colorful scenic design sets the tone of Eureka Day with its artfully arranged books, naturally color-coordinated, and a poster with a diverse hands reaching toward each other with the saying “All stories matter.” Everything in the room points to DEI. It’s a room adults would feel is appropriate for learning and children couldn’t wait to mess up.
Kudos also go to Ana Marie Calis for all those props, David Hart for sound, W. Emil White for costumes, Ardean Landhuis for lighting. Carlos Jimenez for projections.
While health concerns are at the center, but Eureka Day also touches on myriad woke ideologies gone amok including a reimagined Peter Pan (send them into outer space!), vegan lunches (cashew lasagna), terms to define the diverse student body (transracial adoptee), disposable plates (oh no!).
Eureka Day has become widely produced across the country, mainly because it has a small cast, a set that can be bare bones or elaborate and a timely script. Island City’s production is the second time in a few months that Eureka Day has been performed in South Florida. GableStage mounted its Eureka Day at the end of May through mid-June. GableStage’s version, directed by Stuart Meltzer, featured a different cast with only Rita Cole reprising the same role in both productions.
Eureka Day is set during the 2018 to 2019 school year. There’s a bit of a gasp when the executive committee says they anticipate “smooth sailing” during the 2019-2020 school year. We know what happens then.
Eureka Day presented by Island City Stage runs through Sept. 13 at Island City Stage, 2304 N. Dixie Highway, Wilton Manors. Running time two hours with one 15=minute intermission. Tickets are $45 to $62. Contact 954-928-9800, islandcitystage.org for tickets and parking information.
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