I reject your realism and substitute my own!

[thehefner]

So, with only a couple days before my next Principles of Realism class at Studio Theatre, I finally bit the bullet and bought the play LOBBY HERO, from which I'm supposed to do a scene.

All the way up through 3/4 of it, I didn't think it was brilliant, but it was good. Well done, interesting, some good tension and character moments. Then I got to the climax, and I immediately knew this was one of those plays. And the extent to which it proved to be one of those plays made me want to fling the fucking thing across the room. Even now, after a good night's rest, I think back on that play and I am literally angry with rage!

Seriously, folks. What the fuck is the deal with modern drama? It's like, in an effort to completely rebel against the sparkly Hollywood happy-ending love-conquers-all bullshit machine, playwrights from Ibsen onward have been obsessed with writing plays about life-crushing situations with little to no way out, with characters who are morally ambiguous at best and who you want to smack at several moments throughout the play.

I know, I know, people will probably say, "But that's the way things go in real life," to which I say, fuck that. That just strikes me as a cop-out used by pretentious art-house snobs, people who see life as nothing more than a series of betrayals and failures, with occasional moments of humor and sympathy sprinkled throughout. It's an unspoken school of thought that I've seen exhibited in the works of such beloved and celebrated playwrights as Paula Vogel, Kenneth Lonergan, Rebecca Gilman (sorry Kevin, I hate her... and not just because I had to go naked on stage because of her), and Neil "NOT THE BEEEEES!" Labute. Not to mention all the young upcoming playwrights who worship these authors.

(A side note: I don't think it's just plays, but it extends to indie films and literature as well. Anyone read/see THE HOUSE OF SAND AND FOG? Holy fucking shit, people. That was an unspeakably beautiful tragedy, yes, a movingly Lear-like tragedy, that reached a point of such marvelous tenderness when he carried her out of the car. And then what happened? The fucking Lonergan-esque subplot, which felt out of place and tacked-on from the start, comes right the fuck out of nowhere, turning the story into a pointless bloodbath. Because, to that author's mind, I guess he thought it had to be so over-the-top dramatically hope-smashingly tragic. I have rarely felt so frustrated by a story)

Maybe I'm exagerating. But frankly, this is why I hesitate to see modern plays anymore, because I'm sick of coming out of a theatre feeling like crap or bubbling with rage. I mean, seeing plays like that is fine just as long as they don't seem to be the predominant style of the modern play. Which these fucking do.

But that's not to say there aren't plays that I like that fit this mold. Many, many people hate Patrick Marber's CLOSER, which I, of course, absolutely adore. Maybe it was because I saw the film first; had I just read it, I probably would have hated it too. Maybe it's the evil humor, that it's almost an emotional Grand Guignol. Maybe it's how close it hit to the bone for me, and how I saw people I knew (including myself) in all the roles. It was just damn well done. But many people hate it anyway, so go figure. I also love DEATH OF A SALESMAN and the works of Eugene O'Neill, but that's because those are such emotionally bare and cathartic works. Yeah, I do rather love cathartic theatre. And I also like Mamet.

Heck, I even acknowledge the excellence of THE SHAPE OF THINGS, even though I have no desire to ever watch that fucking thing ever ever ever. Evelyn is worse than Ralph Fiennes in SCHINDLER'S LIST and Capt. Vidal in PAN'S LABYRINTH combined.

I can and DO enjoy these types of plays, but only when they're well done (subjective, I know; many people clearly think LOBBY HERO is a play worth remembering) and when they are just ONE kind of play, rather than what seems to be the majority of modern playwrighting. And maybe there's a better response than "it's realistic," but in case there isn't, I call shenanigans on that. Maybe it's just because I'm born and raised on what many would consider "escapist" literature and films, but I've seen and read dozens of stories that are every bit as "realistic" without making me feel the way crap like LOBBY HERO makes me feel.

And I love tragedy too; I consider KING LEAR, THE ICEMAN COMETH, and 3/4 of THE HOUSE OF SAND AND FOG to be beautiful and moving in their tragedy. If I didn't like tragedy, I wouldn't be writing my Harvey Dent novel! But these kinds of modern plays are what keep me from being excited about going to see shows at Studio Theatre.

Maybe that just makes me theatrically illiterate. Whatever. I reject your realism and substitute my own.

Comments

[icewolf010.livejournal.com]

I'm pretty much with you. I'm one of the people who read Closer, and I despise it. To me, it's four people beating the emotional shit out of each other. And I like Antigone. I'm a big fan of Othello. (I must admit that Hamlet gets on my nerves.) I'd love to see Merchant of Venice, a comedy really in name only these days, staged as a tragedy. But sometimes I just want to scream "Get over yourself!" at playwrights.

Two ambiguous, TRULY true-to-life plays that I love to teach are Proof by David Auburn and Wit by Margaret Edson. (You'd make an outstanding Jason.) I also can't get enough of Indian Ink, by Tom Stoppard. (Come to think of it, you'd be a stitch as the eager young editor of Flora's letters, too.)

[thehefner.livejournal.com]

Now, I gotta ask, did you see CLOSER the movie? Or the production I did with Ty, Elise, and Scott? I loved the movie, but really disliked Julia Roberts' and Jude Law's characters. A friend of mine who saw our show (and who loved the movie) said that Ty and I actually made those characters more sympathetic, of which I'm very proud. I also liked our interpretation of the ending, which left the play on a far more bittersweet note than it usually is (and is totally different from the ending of the film).

And still in all, I doubt I ever would have liked the play had I read it. I accredit my initial love of the story to Mike Nichols as a filmmaker and Clive Owen for his performance, still one of my favorite performances of all time.

I was tempted to include PROOF, but y'know, I think it's exempt from my rant. There's enough in there that you come away from it not feeling beaten up or depressed. And I think I'd say the same for WIT if I could just see a good production of it. The one I saw at WAC was fine, but not, I suspect, good enough.

Flora's Letters?

Many people my age dislike LEAR for the same reasons I dislike these kinds of modern plays, yet I adore it and find it moving. Isn't that odd? Sometimes I feel like the only young person who adores that play, but it's as lost to them as Macky-B is lost to me (that's another rant, but I'll simply say that charisma18 has come up with a brilliant idea that would redeem all disinterest I have in that story).

[civilbloodshed.livejournal.com]

I know what you mean, it's like they're going for Realism for reality's sake, but end up with just a bunch of assholes. I sort of felt that way after Haggis' CRASH. Lord, I hated that movie.

[thehefner.livejournal.com]

Oh my God, yes. See, that's like a combo of this mentality mixed with the worst of the Hollywood mentality, which somehow managed to make a bunch of seemingly complex characters into an assortment of thinly-realized caricatures. All in the name of an after-school-special-worthy "Everybody's A Little Bit Racist."

But then, I've ranted about that movie and pissed off some of my friends who loved it, so I'll stop right there.

As a fan of Cronenberg's CRASH, I'd have to say that my biggest complaint was the lack of open-wound fucking.

[civilbloodshed.livejournal.com]

Please, by all means, continue to rant about how bad that movie was! I made a speech about just that once, it was awesome. I felt so relieved after.

I'd have to say that my biggest complaint was the lack of open-wound fucking.

It's like brain punching in a way.

[thehefner.livejournal.com]

Aw, I'm all hated-out from the big rant above. Let's focus on wonderful things! Kittens! Pie! Ringo Starr!

It's like brain punching in a way.

BUT WITH LOVE. As only James Spader can deliver.

[civilbloodshed.livejournal.com]

The Venture Brothers! (your icon is all kinds of awesome)

IN/ON CARS! I won't lie, seeing Casey Jones getting head from Steff is one of the reasons I'm into slash.

[thehefner.livejournal.com]

Casey Jones and Steff whaaa? Aroo?

[civilbloodshed.livejournal.com]

Teenage Mutant Ninja Turtles and Pretty in Pink. Elias Koteas and James Spader, respectively. At the time those were the only films I knew them from.

[thehefner.livejournal.com]

Oh my GOD, he was Casey Jones?!?! Aw man!

And I didn't remember that was the name of James Spader's character. I love that movie, but I can't bring myself to watch it again until they finally release the ending where she goes off with Ducky.

[lonebear.livejournal.com]

to put it as bluntly as you did: the end of "Lobby Hero" sucked big dirty donkey dick.

[civilbloodshed.livejournal.com]

Yes, yes he was. I've seen the movies too many times not to recognize him.

I always thought it was a rehashed Sixteen Candles, but I love it anyway.

[icewolf010.livejournal.com]

The play is called Indian Ink. It's by Tom Stoppard. I saw the original West End cast when I was in England in 1995. Breathtaking, pun intended.

I was so nauseated by Closer that I never saw either the move or the Rudes' production of it. Sorry.

The HBO production of Wit starring Emma Frelling Thompson is outstanding. I have the DVD if you're interested in borrowing it. However, while I normally love Mike Nichols, he changes the ending and I'm Not Fond of it.

[marred82.livejournal.com]

I love how the moral of your blog is that you like GOOD plays. I like plays about cats who sing and dance about life and death. I call it "Frisky Felines and the Gutterhouse Two".

[charisma18.livejournal.com]

I've always been rather impressed by your boundless capacity for rage at people who have no joy. It's adorable. :)

[adaptor.livejournal.com]

A. FUCKING. MEN!

I think I became a playwright in rebellion. Someone needs to smack soooooo many young playwrights up the back of the head and say John Osborn looked back in anger; you just look back in wanker.

In my first play (wow, I actually have to qualify that now) my two lead characters die at the end. But they're Joan of Arc and Jean freakin' Moulin!!! They earned it! Plus, I rigged the script so even when they're dying, you're still thinking 'dangit, I'm kinda jealous!'

(This happens in the latest play, too. The characters go through hell in a handbasket, but you're still kinda thinking 'um, could we swap sometime? Judging from them and the next one I'm sort of mentally working on right now, my two main themes will be courage and sex, which I think I can live with.)

The only upside to this is that these people are my compitition, muwahaha! In the immortal words of Quizzicalsphinx, I am capturing your ship and renaming it the 'Bitch, Please!'

[adaptor.livejournal.com]

What they have is no excuse.

(Sorry to intrude. My issues. Carry on!)

[thehefner.livejournal.com]

... The smiley face indicates possible teasing, but going back and forth over that comment, I think it's actually a sincerely compliment. I think, and hope! Because it's totally accurate; I just never thought of it that way. Joyless people get the Donald Sutherland icon.

Assuming I'm not being teased as usual, that is a comment I'm gonna treasure. So... thankee?

[thehefner.livejournal.com]

Bah, I moralized no such thing, fool! I admitted my own subjectivity and how there are exceptions to plays that fall into my grouchy rage range, but only insofar as they fit my opinions.

That said, I may totally have to write "Frisky Felines and the Gutterhouse Two." But because of your failure to truly understand me, you shall get no credit. In fact, I'll write in a character based on you. The cats will run you over with a tank.

[thehefner.livejournal.com]

The two people with whom I've talked about LOBBY HERO today both hated it (at least at first; actually seeing/doing scenes from it caused it to grow on them). I'm glad to know you at least feel the same about the ending.

That said, I was told Kate absolutely adores the play. She fucking would.

[thehefner.livejournal.com]

Kick their asses, seriously. I'll be rooting for you.

I really do look forward to actually seeing one of your plays.

[adaptor.livejournal.com]

"I really do look forward to actually seeing one of your plays."

Yeah... me too!

(Did you see the link I left you on my journal? For a rant this sweet I just had to say thanks. ;-)

[thehefner.livejournal.com]

I... just did now, yes! Yay! I am touched, and very happy that I'm not alone in my grievances! :)

[thehefner.livejournal.com]

So nothing I can possibly say can encourage you to see the film then, eh? Not even if I told you that by changing the ending, they changed the arc of the entire play (oddly enough, also Mike Nichols)? And again, that Clive Owen delivered perhaps the greatest (at least one of his top three) performance of his career?

Aw man, is that really why you didn't come see our production? We actually made a lot of those problems work, and you can ask many a Rude about that.

Still, I think I can understand that kind of hatred for a play. Not sure which comes to mind for me, but I'm sure there's a few out there that make me feel the same way.

[thehefner.livejournal.com]

It really is the drama version of SIXTEEN CANDLES, I thought that too. But I love John Hughes' 80's movies so, I'll allow it.

Why the heck doesn't he make films like those anymore?

And when are we going to see THE LUNCH CLUB, where they get together for their high school reunion and we see where they've gone with their lives?

[kwsapphire.livejournal.com]

I've participated in several discussions revolving around "what people want to see" in their entertainment. Do we want a sappy, happy ending, to give us hope? Do we want to avoid realism because that's what we deal with every day? Do we want to see people get smacked around and beat to hell and still come out on top in the end? Or do we want to see something so depressing that it makes our life look all the better? Do we want to see suffering so that our own burdens feel lighter?

[thehefner.livejournal.com]

I've been trying to think about how to respond to that, but you've just opened up something that could go on forever. It's the kind of conversation I'd rather have over beers and nachos, because otherwise, one could write a whole book on the subject.

And I'd like to, as this is a subject that's close to my heart. But man, I don't have any simple responses right now.

Among the things I'd discuss is the many different kinds of "happy" ending (the two different endings for the book and film of A CLOCKWORK ORANGE both make absolutely fascinating statements on the "happy ending"), to the nature of escapism, all the way to that last point, which sounds like something one could call "Schadenfreude Theatre."

[kwsapphire.livejournal.com]

If you want to write a book, do it. And publish it. No harm in trying ;)