A link to a review for 'Rachael's Cafe' on Andies Place.

http://www.andiesplace.co.uk/rachaels-cafe/

'Rachael's Cafe' in Brighton - Reviews

The Argus

Friendly, mini-skirted Rachael spends her days serving home-cooked food and tea in the cafe she owns in Bloomington, Indiana. But her life isn't as straightforwards as it sounds - because Rachael was born Eric. 

This one-hour solo show comes to the Brighton Fringe after a successful run at last year’s Edinburgh Festival. British writer and director Lucy Danser met Rachael’s real-life counterpart while studying at Indiana University. Rachael’s Cafe is based in part on their conversations.

It explores issues of transgender identity and discrimination in a thoughtful and funny way but doesn't define Rachael by them. As she frets over whether to go to her daughter's soccer ceremony as Eric or herself, we hear about her Methodist upbringing, how she met her ex-wife, and her cack-handedness with computers. 

Graham Elwell brings serenity and vulnerability to the statuesque Rachael as she wipes down tables and, at one point, hands out cookies to the audience. A brightly coloured set, full of knick-knacks, evokes a café that is both her triumph and her refuge from the outside world.

Danser uses Rachael’s decision to out herself as a way of looking at the complex ripple effect one person’s actions creates in a close-knit community. It has estranged her teenage son but prompted financial backing for the café from an otherwise hard-line conservative.

Sometimes the play gets tangled up in its determination to be fair to every perspective it introduces. But we never lose the authenticity of Rachael’s voice, thanks to Elwell’s performance and Danser’s understated writing in this sensitive, quietly moving production.

The Latest

The owner of Rachael’s Cafe, Eric, a conflicted cross-dresser who yearns for full gender reassignment tells us her story as she closes up for the night and prepares to leave for an important school function with Naomi (his/her ex) and their three kids. Lucy Danser’s debut play is something of a tour de force. The writing is pitch-perfect and deftly tackles the themes of identity, longing, and acceptance without ever descending into the mawkish or the preachy. Rachael (based on a real person) is brought beautifully by to life by Graham Elwell in a bravura performance packed with subtlety and charm. A small gem of a play. Go see it.

The Marlborough,

15 May

Rating: Gary Mepsted

GScene

“You can be what you want to be”, is the basis for Rachael's Cafe, the heart-warming true story of the real-life American cafe and its transgender owner, the play's focal point, Rachael.

Told in monologue by actor Graham Elwell, there are fearful tales of discovery, heart-warming stories of family acceptance and hope for the future, whatever that may bring. Each account, based on interviews conducted with Rachael herself by writer and director Lucy Danser, varies from soft-humour to the genuinely touching. By refraining from over seasoning the natural quality of the material Lucy displays director's restraint seldom seen.Rachael's cafe, an oasis of inclusivity, “must work” to justify the life-changing course of her life prior to its opening. Its motto“Everyone Welcome, No Exceptions” is refreshing in an often exclusive LGBT scene: gay, straight, blue or purple you'll be welcomed with open arms, a smile and a warm cup of coffee.This is a subtle piece of sincere naturalistic theatre with superfluous trimmings, artistic over-indulgence and histrionic operatic ambitions replaced by hushed tones and respect for the very personal subject matter that will open the eyes, or be strikingly similar to the lives of many of you out there.

Fringe Review

This show is based on real-life Rachael Jones, once Eric, who runs a café in Bloomington, Indiana. As such, it is a kind of documentary, but the story is told in such a way that makes it a significant theatrical work in its own right.

Rachael chats to the audience while clearing up the café and preparing to leave for a family event. The significance of this event and what she will wear to it assume more importance as we gain insight into her life. Telephone conversations inject tension, as these are immediate, and provide a contrast with the more reflective relation of her past experiences. Some of these experiences happened years before, while others are more recent and Rachael is only just beginning to realise their importance. Her thought processes have direct consequences regarding what she decides to do at the end of the play. Although simply summarised as the story of a transformation, Rachael has not yet reached the end of her journey.

We may not see the most overtly dramatic moments of Rachael’s story directly depicted here – she tells us about those - but the choice to focus on a smaller family dilemma is just right for the purposes of the play. Normal, everyday occasions have become fraught with meaning and the potential for social embarrassment. Graham Elwell as Rachael convincingly portrays a person juggling society’s arbitrary demands with the need for personal integrity. He adeptly reveals many facets of the same character – the solicitous waitress concerned about the audience, and the exasperated father talking to his wayward son. Running through this performance is an air of polite consideration, but also of strength.

Theatrically, there are a few light touches in keeping with the rest of the play – the audience gets cookies (always a crowd-pleaser at the Fringe). Although Rachael is not a drag queen as she wishes to live as a woman full time, the traditional device of the drag act removing their wig and make up is used here to great visual and emotional effect.

One day, this play may be seen as a period piece as it is to be hoped that in the future Rachael would not encounter the same prejudices. However, it will still be of interest historically, and also as a character study. How do we grow and change while maintaining existing relationships? Rachael’s Cafe is a compelling portrayal of an ordinary person in an unusual situation, trying to do what is right.

Reviewed by Lucy Nordberg 15th May 2012

Whatonstage
WOS Rating: 

We enter Rachael's cafe at its closing time and are warmly greeted by the café’s owner, Rachael Graham Elwell, who is busy clearing up after a hectic day at this inclusive cafe in Bloomington, Indiana.

Rachael was, at one time in her past, Eric Wininger, a toner salesman, who now desperately wants to be at least "passable" as a woman, but he can't afford a sex change and doesn't want to be "stuck half way between" because of the various hormone treatments.

As we begin to warm to Rachael, she gently begins to tell us of how this inclusive cafe came to be established. Having been married and also fathered three children, Rachael found herself asking for a divorce from Naomie, with whom she is now very good friends.

Obviously the situation meant a massive upheaval for the family but, after a period of understandable confusion, the children, except for their son Todd, begin the process of accepting the man who was their father, as Rachael.

An incident with a bigoted Texan at the start of this short biography leads Rachael to explain the purpose of this cafe. "This isn't an LGBT café”, she says, “Everyone is welcome here. No exceptions."  During the course of the one-hour play, Rachael receives frequent phone calls from her children and from her ex-wife, offering us the opportunity to get introduced to just some of the many problems that her cross dressing is causing to the family.

Rachael is very convincingly portrayed by Elwell, as a likeable and generous hostess and the production is both humourous and poignant with a strong moral code that says "Everyone is equal"

Many in the audience, myself included, feel slightly uncomfortable as Rachael changes into a suit, removes her wig and scrubs the make up off her face in order to attend a function at her daughter's school but, although this scene is tinged with sadness, her warm effeminate personality shines through, clearly demonstrating that the inside is far more important than the outside.

As we leave the theatre I look back and know that I am very pleased to have met Rachael and to have had an insight into her life.

- by Gail Jay

When Graham became Rachael - Learning the fine art of crossdressing for the stage

Rachael's Cafe is a play that follows the story of a muscular, motorbike riding, family man named Eric living on the Bible Belt in Indiana, USA who is convinced he should have been born a woman and eventually makes the transition to living socially as a female. Seemingly not the most mainstream of topics and, frankly, not one I was entirely sure I had the knowledge or sensitivity to handle.

Once I decided to put the play on at the Edinburgh Festival 2011 I went actor scouting hoping, somewhat naively, that I I would find someone who had dealt with such subject matter before. Although I saw plenty of actors who were capable of portraying camp men or drag queens, this is the exact antithesis of what Rachael is. Rather than being a man who combines parodied aspects of femininity with the unique qualities of being a man, Rachael is someone who tries to embody what it is to be a woman. Her desire is to be mistaken for a female and not a man in drag. It took Rachael years of trial and error to perfect her ladylike gait and gestures and the thought of doing that from scratch with someone who didn't have the same desire for femininity as Rachael naturally was daunting. However, since I couldn't find a transexual actor (and since Rachael is entirely untouched in terms of cosmetic and surgical procedures or hormone tablets it would be very difficult to find someone at her exact point of gender transition) I had no choice but to start from the very beginning. 

I cast Graham Elwell, a wonderful actor, who had never worn heels, tights, or dresses in his life. As he walked out of his splendid audition we said, "Just to check? You'll be fine about waxing your legs and all that right?" The look of surprise and horror on his face made us realise our work was certainly going to be cut out. Look to the left. You might agree.

A few rehearsals in we started in off in heels to help him adapt to their restrictions and to give him guidelines around which to develop the natural sway of a woman's walk. To be honest we spent an awful lot of time telling him to stop moaning about the pain in his feet because now at least he 'knew how us women felt'. Feel sorry for him? Nah! 

A lovely lady named Caroline Tyler (herself transgender) kindly responded to our request for someone who knew what they were doing to help us do Graham's make up. Once again we needed to make sure we stayed well away from Drag Queen make-up and went for a more natural look. This had to be combined with an appropriate amount and style of base to ensure we covered stubble and created a smooth skin surface. This was kindly provided free of charge by the wonderful people at Extreme Make-Up. 

There was some tension regarding make-up application initially. 

And some outright fighting when the wig went on,

But eventually he sat still. 

I can't say he was thrilled with his first attempt at a dress and stockings.

I would include a picture of when Graham managed to burn himself with Nair but frankly it's too painful a memory to revisit. Suffice to say this time we dealt with a combination of electrical shaving, gentle use of Nair and eyebrow tweezing. 

So, without further ado allow me introduce Rachael Jones (as played by Graham Elwell). I'm pretty happy with our results:

'Rachael's Cafe': First review from the Dublin Gay Theatre Festival

Rachael’s Café is an enchanting piece of theatre that is perfect for an Ireland that is moving towards recognising the rights of transgendered people. Lydia Foy, Louise Hannon and others who have pursued the vindication of their rights through the Courts could have done with this powerful testimony of the life of a transgendered male to female to accelerate their cause.

The story is much more than transgendered based however. Lucy Danser’s script gets under the skin of inclusivity with real skill. Rachel not only creates a space for her own identity to thrive but one for others too. In this everyone is at home in Rachel’s Café, beautifully housed in the Cobalt Café in Dublin.

Danser herself was a customer of the Café and met Eric Winniger on whose life she has based the play. She does so with great understanding and communication. The performance of award winning Graham Elwell (A Dog Called Redemption) as Rachel/Eric is warm, beautifully timed, gentle and powerful. The presence of Rachel reassures and welcomes and has a visible impact on the audience – a great accolade for the skill of the performer. In script and delivery this team from Little Fly Theatre Company are in full harmony. Everything fits in a world that insists otherwise. The anecdotes of the diverse customer base,  generously recounted by Rachel, remind us of the challenges of being oneself. She never evokes pity – she always radiates a greater understanding of humankind that evades her, in her right to live her own life. There is no saccharin when you have a wife and family to provide for and the blending of these two stories is powerful and realistic.

Eric still exists, he has to economically and socially. But Rachel is welcome and the unfolding of this biographical story is a blend of skill, honesty and humour that would neatly fit on top of an excellent cappuccino. This production and play could go down the radical campaigning route. It is far more skilful and valuable than that – no one is left doubting Rachel’s existence, her intellect, her capacity to love and live at the same time and her mind boggling tolerance of the unfairness of  living the identity imposed on her at birth. This wonderful play is a tribute to the collaboration and respect of Danser, Elwell and Rachel and together it is a glorious celebration of identity and inclusion. Lovely, endearing and truthful storytelling infuse the life story of a woman more real than most people you could hope to encounter both on and off the stage. The Cobalt Café is known for its own unique welcome, but it has never been better served than when Rachel takes the helm. Joyous.