There are many important stories yet to be told, or clarified, about fights over social issues that we take for granted.
The story of Estelle Griswold is one of them. She led the fight which resulted in the Supreme Court legalizing birth control for women.
Bridge Street Theatre is bringing her battle with the State of Connecticut to the stage in Catskill. It was a challenge concerning the individual’s right over their own body. It runs through Sunday.
The most remarkable part of the tale is to realize that only 60 years ago it was illegal in Connecticut for doctors to offer patients any form of birth control. Making it more absurd is that it was illegal for doctors to even discuss the topic with their patients.
In 1960, Griswold took the job as head of Planned Parenthood of Connecticut. In 1965, after fighting the legal system all the way to the top court in the land, birth control, on the grounds of right to privacy, became legal in every state.
“Griswold” tells of her battles with the authorities, the courts, and even her board of directors in gaining this landmark achievement.
And, though it is taken for granted today, in an epilogue it is pointed out that major gay rights’ victories were based on the precedent set by “Griswold versus Connecticut”. So was “Roe vs. Wade,” but that’s a play yet to be written.
Also in the epilogue, it is suggested that playwright Angela J. Davis created the play to give credit to Griswold. It appears she has been nearly erased from the history of women who opposed male dominated rules over the bodies and conduct of women.
Actually, the play shows how that oversight could happen. Griswold kept a rather low public profile. Instead of being a rabble rouser, she was an organizer and a strategist.
Planned Parenthood was located in New Haven. So, too, was Yale University. Many of the best legal and medical minds in the country were persuaded by Griswold to join her fight. Without question, such expertise added heft to her lawsuit.
As portrayed by Margo Whitcomb, Griswold was firm and immovable in her stance. It is suggested her stubbornness created some strong battles. But the woman was too wise politically to make powerful enemies.
However, in a theatrical production such prudence creates a character lacking drama.
Imagine a play about Madeline Murray O’Hare, the woman who challenged the courts over religion? Such a work has built in tensions as the woman offended everyone. Rooting against Griswold is like battling Mother Teresa.
It doesn’t help that much of “Griswold” has Whitcomb telling the audience in direct address, the details of the situation. While an efficient storyteller, the first third of the 100-minute piece takes on the form of a lecture.
Eventually the playwright invents some tensions between her and the board. It helps, but only a little.
What does give the play some energy is having two actors playing several different minor roles. Though director M. Burke Walker usually uses Leyia Modirzadeh and Andre G. Brown cleverly, there are moments when his efforts are in contradiction to the reality-based style of the play.
“Griswold” is an interesting look at a hard won fight over a woman’s right to be in control of her own body. It is always helpful to know how such rights were earned.
However, leaving the theatre, the Bridge Street production has you thinking more about the fights yet to come over the same issue.
“Griswold” plays Bridge Street Theatre in Catskill through Sunday. Schedule and ticket information at bridgestreettheatre.org
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
