The Yum Yum Room photo by University Theatre, Madison

Suicide as a result of bullying in teens and young children is becoming more and more of a problem in the United States. Only recently five young males (Justin Aaberg, Billy Lucas, Asher Brown, Tyler Clementi and Seth Walsh) committed suicide as a result of such abuse. This is a grim indication that something needs to be done to address homosexual youth and social and physical in balances of power.

The Theatre for Youth program at The University of Wisconsin-Madison is doing just that. They have recently commissioned Australia’s Stephen House’s The Yum Yum Tree which will assist in cultivating art for young adults in Madison, and also address important and topical issues such as sexuality, depression and teen suicide. The script has undergone some heavy language censorship as of the conservative laws associated with Theatre for Youth in America, and additionally the show has been adapted for an American audience such as changing the setting from Mt. Gambier in South Australia to Madison, Wisconsin.

In the play, Tom’s mom abandons him when he is 6 and soon after-wards Tom, performed by Arthur Noble, begins to retreat into a secret shed behind a church. The shed is christened ‘the yum yum room’ and is similar to Tom’s heart; red and raw. The friendly neighbour Mrs. Mac, acted by Sarah Whelan, watches as Tom falls for his first girlfriend, Annabelle (Ashley McHouse) and eventually comes to terms with his various losses and his father’s sexuality.

The set is visually stunning, designed by Cynthia Dean, using thick, long strings encroaching and surrounding the house, transforming the space into a huge and errie cobweb. The kitchen takes centre stage and is similar to a spider’s trapdoor. The set reflects the psychological and never-ending challenges of the relationship between father and son, and reminded me of a web’s tensile strength where sustainability and therefore death occur, but also where life and beauty coexist. The secret ‘yum yum room’ is scattered with cans, and rubbish littering the surrounding floor, and there are light bulbs hanging down like small glow worms, stimulating images of uncertainty.

The sound, designed by Casey Martin, effectively matches each character’s personal journey down memory lane, assisting in enhancing the pacing of the show. Moreover, Andy Wiginton’s persistent but subtle directional choices worked well. Each performer underwent a distinct transition such as Tom’s (Noble) slow and progressive decline into an authentic, sullen and withdrawn teen, Annabelle’s (Ashley Mchouse) light and refreshing outlook compared to Tom’s melancholy, and Mrs. Mac (Whelan) endearing and charismatic personality which punctuated the dark mood of the play like a spray of sunshine. I was quietly impressed with Aufderhaar’s emotional range and his performance as the father. It’s not an easy part to play, especially for someone who is still very young themselves.

Interestingly, after the completion of the performance the audience members were invited to stay behind and take part in a Boal-like or analytical theatre experience. The spectators were encouraged to ask questions, re-place actors and evaluate the power struggles within various re-enacted scenes. Overall, even though the ending of The Yum Yum Room was too didactic for my liking, the production has much to offer, and is well suited for a young American audience.

© Rachael Hains-Wesson 2010

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