August: Osage County by Tracy Letts, Tony Award and Pulitzer Prize, Steppenwolf Production Company
Love's Labour's Lost by William Shakespeare
Palestine, New Mexico by Culture Clash
I never went to a play in India. I never got to go to a play; my parents weren't so much into theatre, or rather we couldn't be, because theatre is not so commonplace that it is affordable. Plus, there wasn't much to be said for English language theatre where I grew up. And once I reached an age where I could have taken up an interest, it just didn't happen. Certain personal circumstances interfered with it, one of them being the fact that I was in high school, and high school in India means a never ending series of books to study. Not even read. Study.
Still, not being sharp doesn't mean you're condemned to be blunt. Being in Los Angeles, and being in my university brought me the perfect opportunity to at last taste, somewhat belatedly, a lot of the things that I never got to experience at a younger age, one of them being theatre.
It is something, to watch a play unfold on stage before you. Sure, it is not exactly like watching a movie. You get to watch only certain angles. You don't have mikes on stage, or at least not ones that will capture a tiny whisper, so theatre dialogue has to be conducted with a certain loudness, a certain toughness, a certain carrying quality of voice, so that the lines may be understood. Emotions are thus more dependent on facial expression, rather than a combination of expressions and dialogue delivery. Actors have to be able to connect with the audience. It's a very personal thing, seeing an actor up there a few feet away from you, visually telling you a story. You start to enjoy a play, when you can immerse yourself in the story, and connect with what the actor is telling you, thinking about what that character is doing and why.
Plays written today are different from the plays written in the past. Each play represents, somehow, the period it was written in - not just in style, but also in the story, the characters, the way the play treats the situations it addresses, and the reason why it does so. Shakespearean plays were made sometimes for entertainment, as in the case of As You Like It, sometimes about the comedy and tragedy of love, as in Love's Labour's Lost and Romeo and Juliet, sometimes for drama, exemplified by Macbeth and Hamlet, and sometimes for history, King Henry et al. In later periods, before motion pictures became so popular and widespread, theatre was the main form of entertainment for presenting a story. Agatha Christie, and others, wrote quite a few plays, apart from the usual novels and short stories.
Modern plays are about people, and the way they interact with each other. August: Osage County, for instance, is about a family, and the different tangled webs of secrets, lies, personal problems, and convoluted sexual relationships that the members of that family are entrenched in. Palestine, New Mexico, is about an army captain who goes to talk to the father of a Native American soldier who died under her command, and in the process uncovers the realities of life on a Native American reservation - the way they struggle to deal with different identities of religion, race and tribe. Modern theatre nowadays is as much an art form, as painting and sculpture are.
The characters of plays are also as distinct as the stories, in relation to the period the play was written in. Modern plays deal with very realistic characters, with very realistic traits and behaviour, because the stories they tell are those of people you can relate to. Some exaggeration was allowed, and in fact necessary in earlier plays (again, compare something from today, with something like anything Shakespeare wrote). Dialogue has always been like the speech of the current time, which is why plays today have direct speech that you can follow, while with the older plays, the older it gets, the more convoluted the language. (Though it's hard to believe that people spoke with that kind of convolution in daily life in those times. Perhaps only the lettered and educated people did so.)
There is also a distinct difference, in the setup and logistics of plays, as they are written today, and as they were written in the past, apart from the obvious differences of story and characters. Plays nowadays won't have too many costume changes. The stories cover a very short period of time, and often do not have more than one change of scene, so that the sets need not have more than very superficial changes, mostly some quick shifting of small furniture, and very cleverly coordinated lighting, so the entire play must be seen essentially against a single setting. This also allows that single set to be pretty elaborate and detailed; there can be structure in it. The set for August:Osage County was an entire three-storey house, with the kitchen and living room detailed across the stage. The action involved frequent climbing of the stairs from the living room, and disappearance behind doors which led ostensibly to bedrooms. The set for Palestine, New Mexico was a small clearing in front of a small hill, complete with the shrubs and sands of the desert and plains, rocks and caves, and steps leading up to the reservation on the top of the hill. The play is worth 80 minutes of time, and is performed continuously without an interval.
The set for Love's Labour's Lost was composed of a brilliantly constructed and painted facade, which had sliding panels, ladders, doors and curtains, so that it could be used alternately to represent a room in the castle, or the gates of the city, or the woods outside the city. Furniture was quickly moved about in the few seconds of darkness between subsequent acts of the play. They couldn't have done it otherwise; Shakespeare's plays were written at a time when just such things were required of the stage managers; to produce a forest, or a castle, or a courtyard, when needed to. In the older days, they would've just presented beautifully woven backdrops.
Of course technology today continues to bring forth ever new ways of enhancing the quality of the experience of a play, by allowing for increasingly grand sets, sound, lighting and even special effects. Indeed, it is pretty normal to have some nice pyrotechnic effects, very realistic booming gunshots, roaring ocean waves, and even the relative time of day, created by some smart stage engineers, working with sound, light and special props. Palestine, New Mexico had a rather delightful trick: a special burner, which when triggered, instantly gave out a bright, very convincing campfire. That wouldn't have been so easy to pull off in the old days.
I daresay regular theatre fans have seen all of it, and know intimately the finer nuances of theatre past and present. But to someone who hasn't ever experienced it before, it's certainly something novel, and exciting. And with time to soak up the new sunshine falling on me, my own intellect will make good hay, before the end of the day.
(My experiences courtesy the Ahmanson Theatre, Los Angeles, The Broad Stage, Santa Monica, the Mark Taper Forum, Los Angeles and the University of Southern California, Los Angeles)
