“What’s going to happen to us,” they asked each other, and “I lost two clients today” and “should we sell the house?” and “did you love Travis?” and the answer: “Yes, but I wish he’d never been born.” Playwright Lamarre talked about the killers’ families, the other victims of shootings who generally are not acknowledged even though their lives, too, have been destroyed by the shooter. They become families at war with themselves: What could they have done differently? The mother of Dylan Klebold, for example, went from a well-respected member of the community to someone who had to go into hiding to mourn the loss of her son who had killed the children of families in that same community. At some point, she had to acknowledge her son had become “a monster.” Likewise, the mother of Adam Lanza, Sandy Hook’s mass shooter, had lived in fear of her son. But the fictional parents of Travis in Trigger Warning had known something was wrong, and had taken Travis from therapist to therapist, without finding something that helped their son. No one had an answer.
Director Miller, whose plays were nominated last month for nine Small-Stage awards by the Independent Reviewers of New England (IRNE), told the audience that Zeitgeist Stage always produced plays that reflect “the spirit of the times,” so mass shootings was a relevant subject. There had been numerous documentaries, and plays, but never from the perspective of the shooter, he said. The initial title, Thoughts and Prayers, as in the usual comments offered, was determined to be too passive. Trigger Warning is both a general warning for events that may trigger trauma but, in this case, the word “trigger” has a more appropriate duality, he said.
After the cast held a read-through of the play’s first draft in December, followed by an in-depth discussion with Lamarre, the playwright returned two weeks later with a revised draft. “It evolved organically,” he said. “You never see the shooter. He had added several characters who each represented another aspect of the story: A minister, who asked the shooter’s mother not to come to church anymore to avoid upsetting the other parishioners; and a lawyer, to fend off the lawsuits by enraged parents. The Klebolds were bankrupted by their son’s ass shooting at Columbine, as was their insurance company. Scenes evolved further with the mother talking to the minister and the father to the lawyer, each describing from different points of view being cast out from the community they were a part of. The daughter, living with the mother’s sister, moreover, attends a “Never Again” rally in town, multiplying the arguments for a law suit against the parents.