In 2022, Omer Abbas Salem impressed audiences with his dramedy “Mosque4Mosque,” a play about a Syrian American family produced by About Face Theatre. Now, his latest work, “Happy Days Are Here (Again),” is being showcased at Steep Theatre at Steppenwolf’s 1700 Theater. This play takes a dark turn as it delves into the disturbing topic of child sexual abuse within the Catholic Church and other institutions that turn a blind eye to such atrocities.
Directed by Azar Kazemi, who previously directed “Motherhouse” at Rivendell, “Happy Days” unfolds in the setting of St. Boniface High School in Chicago in 1979. The play introduces us to various characters, including a shy freshman, her confident older sister, a football star, his girlfriend, and two boys exploring their feelings for each other. The ominous tone is set early on when a voice on the intercom calls a student to the rear rectory office, hinting at the abuse that is all too common in this environment.
Inspired in part by Ryan White’s documentary series “The Keepers,” the play features sympathetic adult figures in the form of nuns at the school. Sister Edith, Sister Clarence, and Mother offer support to the students, who are victims of abuse at the hands of Father Patrick and Father Brian. The power dynamics within the school, mirroring the real-life structures of the Catholic Church, are explored, highlighting the systemic issues that enable such abuse to continue unchecked.
Unlike other plays that leave room for doubt, “Happy Days” leaves no ambiguity about the horrors faced by the students. The narrative unfolds through a series of confessions, shedding light on the isolation and shame that victims of abuse often experience. Despite the lack of catharsis or justice served, the play serves as a powerful reminder of the ongoing challenges faced by survivors of abuse and the systemic failures that perpetuate these crimes.
While the play may at times feel repetitive or slow in its storytelling, the strong cast and sharp direction by Azar Kazemi create a tense and voyeuristic atmosphere for the audience. Through its exploration of the victims’ struggles to come forward and the complicity of those in positions of power, “Happy Days Are Here (Again)” serves as a poignant indictment of the institutions that fail to protect the most vulnerable.
In a time when the spotlight is increasingly on issues of abuse and misconduct, Salem’s play offers a timely and necessary reflection on the enduring impact of such traumas. By shining a light on the dark underbelly of institutional cover-ups and complicity, “Happy Days” prompts audiences to confront uncomfortable truths and advocate for change in systems that have long turned a blind eye to the suffering of the innocent.
