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47 pages 1 hour read

Heidi Schreck

What the Constitution Means to Me

Fiction | Play | Adult | Published in 2017

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Symbols & Motifs

The Constitution

Content Warning: This guide includes discussions about domestic violence, violence/rape against women, incestuous rape, child abuse, human trafficking, and abortion.

The US Constitution is the play’s central symbol and arguably the most significant symbol of America and national identity in the country as well. It is, as Rosdely points out, “the oldest active Constitution in the world” (68), and despite the age of the document, it is widely revered almost like religious doctrine, and the men who wrote it are elevated above mortal status. The US Constitution is what turned a cluster of colonies into a unified country under the three branches of government created with built-in checks and balances. It is written clearly and plainly, designed to be understood by people of all educational levels. In this spirit, audiences of the play are given pocket Constitutions, ostensibly to follow along with the debate, but also to symbolically place the country in the hands of its people. Arguably, one of the reasons that the Constitution has withstood so much time and historical change is the sparseness of the document. It’s written in broad strokes that can be interpreted and reinterpreted, as it has been over the course of 250 years. It is a living document in that amendments can be added to meet the ever-changing needs of the country. It is also a rigid document, as the addition of amendments is rare. Since the Constitution was ratified in 1788, there have only been 27 amendments, and the first 10, known as the Bill of Rights, were quickly proposed and ratified together in 1791. The process of proposing and ratifying an amendment is slow and arduous. As Thursday exclaims, “We’ve been trying to pass an Equal Rights Amendment for over one hundred years!” (90). Amendments become a permanent part of the document’s rigidity, as they aren’t removed, even if they are repealed. Rather, a new amendment is added to counteract a previous amendment.

The Constitution’s flexibility lies in its openness to interpretation, which is the purview of the federal Supreme Court’s nine justices. As Heidi emphasizes, these “nine unelected people have decision-making power over our basic human rights” (70). Additionally, there are no term limits, which means that appointed justices hold onto their immense power until they either decide to step down or they die. The Supreme Court is also a significant entity in the play, not only for the sway they hold over the way the Constitution is employed, which is highlighted by audio clips from moments of decision-making, but also because the young debaters onstage are framed as carrying the potential to become future justices, as projected by the Legionnaire. In both the Legion Hall debates and the extemporaneous debate at the end of the play, they are taking on the task of interpreting the Constitution. Like William O. Douglas did by comparing the 9th amendment to a penumbra, Heidi, Rosdely, Thursday, and (offstage) Becky Lee Dobbler use metaphors to make sense of the Constitution, each demonstrating their unique answer to the prompt in the play’s title. Heidi calls it a crucible, both a site for magical alchemy and for difficult trials, testing the mettle of one’s beliefs. According to Heidi, Becky compares the document to a patchwork quilt. There is no elaboration, but presumably she sees unique parts that don’t match but come together as a whole. Of the 9th amendment, Rosdely sees it as an all-knowing robot with memories of the future that humans can’t access. To Thursday, the 9th amendment is a pair of heels, a vehicle to get her where she is going. As the women point out several times, the Constitution was not written to treat women or BIPOC as human. The three women in the play are defying the document’s antique priorities and asserting their right to the conversation.

Women’s Bodies

As Heidi explains, in 1965, William O. Douglas used his penumbra metaphor to reframe the ambiguous 9th amendment in defense of legalizing birth control, finding no other avenue to discuss women’s bodies. Heidi continues, “Because our bodies, our bodies, had been left out of this Constitution from the beginning!” (33). Considering the amount of effort and lawmaking that has gone into legislating women’s bodies, particularly where reproductive health is concerned, this omission demonstrates that the framers truly created the document for men, suggesting that they deemed women and their bodies to be uninteresting, insignificant, or an unlikely site for political debate. There were also no women in the room to remind the men of the Constitutional Convention that they existed and required legal protection of their rights, too. Similarly, there wasn’t a woman present in the room as a Supreme Court justice until Sandra Day O’Conner was appointed in 1981. Out of a total of 116 Supreme Court judges since 1789, only six have been women, meaning the embodied experience of womanhood and moving through society as a woman has been absent from the decision-making process about human rights and women’s health for the bulk of US history. At the end of Part I, Heidi plays a clip of Justice Ruth Bader Ginsberg, who asserts that there will be enough women serving on the Supreme Court, “When there are nine” (58). Even if one counts female justices cumulatively rather than simultaneously, nine is still far away.

In Heidi’s life and the lives of the women in her family, the female body has been tried constantly as a political battleground. Each generation prior to Heidi has had little to no access to birth control, and abortion wasn’t established as a legal right until 1973, leading her great-great-grandmother to have 16 children by age 36 and her grandmother to have six children with an abusive man. They had little agency in bearing children, and their husbands were also allowed by law, explicitly or implicitly, to batter their wives. Heidi’s great-great-grandmother Theresa’s official cause of death at age 36 was melancholia, which Heidi translates as chemical depression, which runs throughout her family. Thus, Theresa’s untimely death is blamed on her own body with no recorded questioning or consideration of why she was so melancholy. At 15, when Heidi and her friend began taking birth control, Heidi didn’t understand the significance of having such free access. Still, even with legalized access to birth control and abortion, Heidi feels a fundamental ambient fear of making men angry, describing to the audience how, as a college student, she had sex with a man out of a strange sense of politeness, even though she had and still has no rational fear of this particular man. Throughout world history, as the Legionnaire reads from Heidi’s cue cards, the abuse of women by men has been codified into law, suggesting a widespread desire among men to inflict violence upon women, and the changes to those laws don’t stop violent men or force the police to care and intervene.

The rights to abortion and birth control were never enshrined in the Constitution. They were only interpretations that became precedents, which can be easily reversed by a right-leaning Supreme Court, as evidenced by the 2022 overturning of Roe v. Wade, removing the 50-year-old precedent that protected abortion rights at the federal level. This occurred after the play was written and published, and the playwright would no doubt expect a newer production to incorporate such a monumental blow to women’s rights and bodily autonomy. Without the permanence of an amendment, the interpretation of the 14th amendment as protection of abortion rights was tenuous, held together by the mutual agreement of enough Supreme Court justices—until it wasn’t. The failure to pass the Equal Rights Amendment, which would guarantee equal protection under the law as a constitutional right, including bodily autonomy for women, suggests that there are too many politicians who aren’t interested in codifying equality. Women are forced to continually ask for rights and protection, perpetuating the feelings of underlying fear that urged Heidi to have sex to be polite, and inciting her mother’s reflexive panic response to the idea of Heidi being pregnant. When Heidi needed an abortion, she discovered first-hand how failing to directly and overtly protect abortion as a constitutional right allowed conservative states to skirt the ambiguous parameters of constitutional legalities to make abortion legal but increasingly difficult to get. Heidi was fortunate to have the means to travel for an abortion, but for every case like hers, there are many that don’t end so well. Pregnancy has long been weaponized as a way to force women’s bodies into domesticity, restricting their ability to move and hold power in the world.

The Audience

At the beginning of the play text, Schreck explains, “This script is a blueprint for a living encounter, and it is essential that the performer establish a genuine and spontaneous connection with the audience. Occasional ad-libs that elide the distance between the performer and audience are encouraged” (7). The audience is a vital part of the performance, and in her first monologue, Heidi casts them in the role of the Legionnaires who served as the audiences for the American Legion oratorical contests of her youth. She remembers these audiences as primarily old white men who were smoking cigars, which is, like the scenery, more of an impression from Heidi’s memory than realistic. Typically, audience participation requires just that—participation. The purpose is usually to give the audience some action or line that contributes to the performance. However, the Legionnaire who presents the rules for the competition makes it clear that their action in this role is to be inactive and avoid participating. They are passive spectators, sitting on their imaginary patriarchal haunches without applauding or showing any emotion, imagining themselves nonchalantly smoking their cigars. The impassivity of these men reflects the lack of urgency or interest in change, as they watch as the patriarchal structures that empower them are reified and renewed. They serve as witnesses to the fairness of the competition, as the Legionnaire notes that contestants will draw their amendment from a can “in full view of the audience” (15). They are also Heidi’s confidante, as she discloses the story of her abortion and her family’s difficult history. Although this transformation only really occurs in the audience’s minds, it establishes that within the world of the play, the audience is in the room. They are not invisible watchers peeking through a fourth wall, and later, their participation will become crucial to the work that the play is doing.

When Heidi decides that she wants to step out of her Legion Hall memories, she gives the audience permission to go back to being themselves, emphasizing, “You are so welcome to be yourself” (52). Mike, who plays the Legionnaire, is also himself now, and his new instructions to the audience provide an opposing bookend to the first set of directions, which functions as a critique of the debate model that forces the audience watch inactively and embrace inertia. They are now encouraged to make noise throughout the debate, making their approval or disapproval apparent through cheers and boos. Instead of carefully avoiding possibly accidentally swaying the judge’s decisions, influencing the outcome is the point. The audience members also each receive their own pocket Constitution, demonstrating that participation in the democratic process in and of itself isn’t enough. Part of civic responsibility includes education and becoming informed. With their own copy of the Constitution, the audience is encouraged to actively read along and look up the claims made by debaters instead of passively trusting everything they say. Then, at the end, a judge is selected from the audience to determine the fate of the Constitution and which side of the debate was more effectively persuasive. Considering that much of the legislative and judicial processes are in the hands of officeholders who are either elected or appointed, the system encourages passivity. Voters have completed their civic duty on election day, after which they are given tacit permission to refocus on themselves and trust the elected officials to act in their best interest. The play urges the audience to remain active, to loudly voice their approval and disapproval to those who will be seeking their vote again in the next election.

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