Why Not? August Osage County by Tracy Letts: an analysis for production

Originally Published January 25, 2014 in Facebook Notes:

Please note that I review the plays that I read in light of their artistic merit, but also the probability that they might be successfully mounted in the market where I direct: North Central Illinois community theatre:

August: Osage County by Tracy Letts has brilliant dialogue. With each utterance, myriads of telling character subtleties are unfolded. The tempo, juxtaposition and choices offered in every human transaction are an actor’s and director’s dream. That being said, this tragicomedy (and what family reunion isn’t?) that peels away generations of dysfunction may never see the light of day in a local community theatre production. EVERY vulgar utterance is essential to the discourse unveiling the bitter truths and comic pathos of the play. To cut one word would be dishonorable to the playwright (who has been inspired by his own story) and grand theft to the actors who seek to create truth. Locally, finding the large complement of sixty-somethings and forty-somethings to honorably fill the 13 member ensemble cast would take the chance that most every A-game talent we have in a 60 mile radius would be simultaneously available.

The following has been edited and added 1/27/15: With that, I hesitate to conceive that any local theatre might successfully build and house the 3-story set with as much realistic detail as the play demands.

After further review of my own comments, why NOT? If the surrounding theatres were to bind together as a collective might we not (warnings posted) work together to bring this gem to the stage? With posted caveats, could we not present this piece with our combined talents and run it one weekend per month in ALL participating locations? What a coup THAT would be!
http://www.dramatists.com/cgi-bin/db/single.asp?key=3969

The Last Night of Ballyhoo by Alfred Uhry: an analysis for production

Originally published on Facebook Notes: July 19, 2014 at 3:01pm

Afred Uhry is best known for his wildly successful Driving Miss Daisy. This comedy (1997 Tony Award for Best Play ) is also set amidst the Jewish upper middle class of Atlanta, GA. The “Ballyhoo” of which they speak is something of a Jewish debutante ball where the German Jews make sure their daughters are in the running for joining the right families. Not only is Ballyhoo imminent but also the opening of the film “Gone with the Wind” and Christmas. The Frietag /Levy family has spent several generations becoming Atlanta gentility, perhaps at the expense of their cultural identity. There is no greater sign of this cultural fracture than the large lighted Christmas tree in the foyer. The central question of the play is, “What is more important who you are or who you appear to be?” The cultural identity themes will resonate with the descendants of Mexicans and Eastern Europeans of the Illinois Valley. Oh… And YES it is very funny. There are serious themes which are mostly dealt with in a very light manner.

Casting should be simple. All actors are Caucasian. The script calls for four actors in their 20s and three people in their mid-to-late 40s. Dialects are gentle Atlanta and Brooklyn Jewish. There is a 20-year-old male with bright red hair (Peachy Weil). This trait is essential and scripted as it is a feature that makes the character obviously “other.”

The creative team will have to up their ante for this show. There are three “sets.” A short scene set taking place in an anteroom of a country club, can be performed in front of the curtain with no props. There are two scenes in a sleeping compartment of the train which would have to be simply done. It would be difficult to hide this set piece during the main action taking place in an upper-middle-class Atlanta home. The time is December 1939 and costumes include business clothes, day clothes, two obviously handmade sweaters, and fancy dress formals. Peachy will probably need to color his hair or get a really, really good wig. A 1939 men’s hairstyle should be relatively short.

http://www.dramatists.com/cgi-bin/db/single.asp?key=2480

Polish Joke by David Ives

Polish Joke is an outrageous, funny and touching look at how we are often weighed down with a learned but imaginary case of self-loathing. Embracing ourselves fully, and not taking ourselves so seriously, is the cure to making a life worth living. The Illinois Valley has many citizens of Polish (and other Eastern European) descent who, if they saw past some of the language, would highly identify with the show’s themes and cultural references. Anyone who feels both bound and cursed by their cultural heritage should be entertained and moved by this play.

When you read this play, think, “Is it funny? Is it true?” Please avoid thinking, “Will the Polish-American Social Club pull its funding for the theatre?” It will be easier for potential audience members than for scrutinizing readers to see beyond a priest using the f-bomb about nuns, or a doctor testing if a woman wearing the Polish flag gives the lead character an erection.  There is an instance where the lead character discovers that he has lost his vocation. His sense of loss is beautifully written, and the discovery is punctuated by expletives. The language comes from his anger and sadness, not the opportunity to elicit laughter. The playwright’s craft is far more sophisticated in Joke than Don Juan; the payoff, more nuanced.

So little scenery makes for cheap production costs and helps the actors and director focus more on story-telling. This play is risky, but worth a shot for the brave.

Challenges:

Language:

• “Fuck”: Up to 12 times throughout:
  • The word is isolated to 3 out of 13 scenes
  • A priest describes a nun’s practical joke, “They’ll fuck us all, the nuns.”
  • “feckin’” is used a few times in an Irish-themed scene.
• “Tits”: Used once to ask which color is the top on the nurse’s teddy.
• “Masturbating” : Used to report the commission of same
• In an Irish brogue: “As stout and as hard as the paynis on a championship racehorse at studtime.”/ ”Aye. Aye. A stout hard paynis, begosh.”

Scenery: The trap-door for the miner mentioned above

Accents:

• Old world Polish, 2 male, 2 female
• Stereotypical Irish: 2 female, 1 male
• Much use of Polish (phonetically spelled in text, but must be practiced and perfect)

Running time: 2 hours, plus one 15-minute intermission (http://www.curtainup.com/polishjoke.html)

Fee: $80 per performance

http://www.dramatists.com/cgi-bin/db/single.asp?key=3214

Available for lending from UIC Library, Chicago, IL