WIT, WONDER AND WILD CHIMPS
Embarking on a theatrical safari at the Ensemble Studio Theatre (EST), I stumbled upon a wildly witty gem tonight that rivals the most exhilarating of jungle adventures. Some plays lecture. Others live. Have You Met Jane Goodall and Her Mother? is the latter—a marvel of a comedy that doesn’t just tell the story of 26-year-old Jane Goodall’s groundbreaking discovery of the chimp-human connection, her intricate relationship with her mother, and trying to get close to creatures that wanted nothing to do with her—it expands it into something audacious, deeply funny, and ultimately incredibly affecting. Here is a comedic masterpiece that not only tickles the funny bone but also tugs at the heartstrings, much like the chimps Jane so dearly studied. And just as Goodall needed the patience of a python and the determination of a donkey to study chimps, EST has spent years nurturing this play into a miracle of storytelling.
Kristin Griffith, Jordan Donaldson, & Tommy Heleringer
Kristin Griffith, Rami Margron, Brittany K. Allen, Tommy Heleringer, Jordan Donaldson
Forget straightforward biography. Drawing from correspondence and Jane’s diaries, playwright Michael Walek doesn’t just tell Jane’s story—he reinvents how it’s told, crafting a narrative that’s as audacious as it is amusing. He plays with form, slipping between narration and action in a Story Theatre approach that turns the five-actor ensemble into living, breathing storytellers. Spanning two acts and 150 fast-paced minutes, the play delves into the ridiculously oppressive restraints on women—adding broader themes of colonialism and sexual repression. Walek even sneaks in a nod to the golden era of London’s West End theatre.
Rami Margron
Actors describe their own actions rather than performing them outright (“Jane pours the tea”), an inventive narrative style that invites the audience’s imagination to flourish. The set—Tanya Orellana’s geometrically designed, multi-level jungle of bare and green-painted wood—almost entirely devoid of props—suggests more than it states, whether it be a tent, the treetops, a game warden’s office, a London home, or a ballroom. It’s like San Francisco’s Word for Word company, which stages short stories verbatim, a conceit which brings far more pulse and playfulness to a tale that could’ve been dry as dust.
Brittany K. Allen & Kristin Griffith
For those who need a refresher: By age 10, Jane was hooked on animals. At 23, she met Dr. Louis Leakey in Kenya, who recognized her talent and got her a grant to study wild chimpanzees in Gombe, Tanganyika (now Tanzania). In 1960, 26-year-old Jane arrived with her mother as chaperone to begin her research—an absolutely wild adventure for a young Englishwoman with no formal scientific training. The chimps were afraid of her, but she persevered, leading to one of the longest field studies of any species in history.
Jordan Donaldson, Brittany K. Allen, & Rami Margron
For this six-month slice of Goodall’s life, Walek’s characters are ingeniously drawn from both history and invention. For example, Hugo van Lawick, the National Geographic photographer who documented Jane’s research and later became her husband is nowhere to be found here. Instead we have “Short,” played with bravado by Rami Margron, a tracker who initially believes he’s there to hunt chimps. Another fascinating addition is David, a UK citizen working for the Home Office as a Game Warden, played with unctuous drollery by Tommy Heleringer, who practically steals the show with flair and impeccable comedic timing. Adolph, a 19-year-old socialist brought on to spy on Goodall, and who is invested in Tanganyika’s upcoming election, adds unexpected depth in the hands of charming Jordan Donaldson. Brittany K. Allen is a revelation as Jane—deliciously wry, intelligent, quietly fierce. She doesn’t play up Jane’s heroism; she simply is Jane, making her journey of a young woman on the brink of monumental discoveries all the more powerful. Kristin Griffith is magnificent as Vanne, Jane’s mother, navigating her own path of growth in Tanganyika.
Kristin Griffith
Director Linsay Firman orchestrates the production with a keen eye for pacing and spatial dynamics, while ensuring that no one in the ensemble overplays their character (they don’t push for meaning; they are the meaning). But once or twice, the energy dips—not in the moments meant to breathe, but in ones that just sit there. When a show flows this well, you feel the sandbanks. But these minor lulls are quickly overshadowed by the play’s vibrancy and engagement. I must also note that so many plays today announce their diversity. This one just uses it. No lectures, no self-congratulation—just a mix of perspectives because that’s the best way to tell this story.
Kristin Griffith & Brittany K. Allen
Rami Margron & Jordan Donaldson
Having endured a red-eye flight from L.A. this morning and battling jet lag, this was my third play of the day. Yet, Have You Met Jane Goodall and Her Mother? kept me thoroughly entertained, a testament to its captivating storytelling. Jane Goodall, now 90, remains a steward of Mother Nature. And EST? A steward of what makes theater matter, standing as a beacon of theatrical innovation, reminding us why we venture into the theater: to learn, to laugh, and, momentarily, to escape our own troubles. Much like Jane’s own adventures in the wild, it’s a journey well-worth taking.
Rami Margron, Kristin Griffith, & Brittany K. Allen
photos by Valerie Terranova
Have You Met Jane Goodall and Her Mother?
Ensemble Studio Theatre, 545 West 52 St
in partner ship with The Alfred P. Sloan Foundation
ends on March 30, 2025
for tickets ($25-$40), visit EST
