MURDER, POLITICS, AND THE END OF THE JAZZ AGE
by Michael Wolraich
Order today at Barnes & Noble / Amazon / Books-A-Million / Bookshop
MURDER, POLITICS, AND THE END OF THE JAZZ AGE by Michael Wolraich Order today at Barnes & Noble / Amazon / Books-A-Million / Bookshop |
I'll leave this for you without much comment. I don't agree with everything he says here but he is our Brecht and some of you will really appreciate this, I just know it.
http://nymag.com/arts/theater/profiles/68994/
Enjoy! If anyone wants to discuss I'll be sure to lurk in the comments.
Comments
Thanks for the link, Destor. A fascinating read about the ongoing struggle undertaken by one person in the public eye to discern and yet synthesize disparate thoughts and feelings and actions evoked by the events of our time. No matter his human foibles, how can we not respect a man who sees the ongoing struggle itself as being worth something, maybe everything?
After reading this piece, I feel a strong desire that our president, our congressmen and senators, and our SCOTUS judges be given a writing assignment: in order to pick up your next paycheck (and/or corporate campaign contribution) write a play or a screenplay showing your understanding of the pivotal issues that confront our country and the greater world in 2010. Spare nothing in your effort to portray what machinations really pertain; explore options for solution that in this context might be possible; dare to think and write what you really believe.
by wws on Tue, 10/19/2010 - 4:37pm
It's a good solid article and I think Kushner well deserves the in-depth discussion.
But if I were Larry Kramer...I think I might feel a little, well, short-shrifted. And I can guarantee you Terence McNally isn't very happy at all.
There's a quite palpable (if not explicitly expressed) implication that hangs over the piece: Tony Kushner it It. And yes indeed he is New Yorker feature article worthy and I'm not being snide there. He is.
But there are other people who deserve a bit more than the sidelining that happens here: Busch and Ludlam. Lanford Wilson. John Guare. Not political? I dunno. There are varying degrees and certainly a couple of these names would go at the bottom. But I think the gradual emergence of scripts that find their center in gay experience (or simply gay entertainment) from darkness into light and commercial mass-audience runs is political in and of itself. And this wasn't a one-horse town. Harvey Fierstein in Torch Song Trilogy at the Little Theater in the early 80's was a political event if there ever was one. A paradigm shift. And it was magical.
Just my two cents worth.
by anna am on Tue, 10/19/2010 - 5:46pm
Good points, anna. I was a little sad about the death of theatre in this, but I've been sad about that since the 90s. All the people you mention are great. But what's really scary to me is that I don't see new voices and new playwrights emerging. I don't see a next Kushner who was a next Brecht. Even Kushner is writing for HBO and Spielberg. At least some one in the article new that you can't call Kushner the unqualified best while Albee is still writing and breathing!
by Michael Maiello on Tue, 10/19/2010 - 5:47pm
There's no development money anymore, destor. And theatre = real estate now. You rent the house, you've got to fill it and filling it means no risks. And then you get a Tony for keeping the League members flush and flourishing. thisg aren't entirely dismal though. It's not exactly Kushner league, but I think Marans' the Temperamentalists was really interesting. And right now Ruhl's adaptation of Orlando is interesting too. Not exactly my meat. But interesting, and some evidence that there's still stuff going on that's not just all slick and greased up for a quick trip to the big boards.
by anna am on Tue, 10/19/2010 - 6:25pm
And yes. That kind of no tribute tribute to Albee put me aback too.
by anna am on Tue, 10/19/2010 - 6:27pm
I would say it was his Angels in America performed at the Seattle Repertory Theater that really opened my eyes to what a play can actually achieve, that "something" which is impossible to achieve on the silver screen or on the page. Of course, it helped that there was a high quality group of actors along with the director. It does make a difference as another performance I saw of AiA at a university made so clear.
Which does bring up part of the problem with the theater in this country. If one doesn't happen to live in New York, or maybe Chicago, one's access to quality performances, both in terms of the text and the performace is rather limited. Comparing it to film, many people in this country growing up get to see Citizen Kane not directed by Wells but by some undergrad student. How many of the potential genuises that might have been pulled to the theater as a means of expression drifted away from it because what theater they did see was not very inspiring.
But I would add that Tony is pretty clear about how he sees Obama and the left and the whole process [emphasis mine]:
Seems to be that Kushner is political realist. So even when Obama does something that is "unethical, tremendously destructive, and potentially politically catastrophic" he is still supportive because of the larger context of the political environment. And it seems that Kushner is placing a lot of the responsibility for change on the people of the left to actually get in there in participate in the participatory democracy. And while I too would like to see what Brecht would think of Obama, I would also be very interested in how he sees the left itself.
by Elusive Trope on Wed, 10/20/2010 - 3:51pm
That is indeed the money quote, trope.
by anna am on Wed, 10/20/2010 - 4:48pm
Quality is definitely an issue, Trope. But the bigger commercial theaters aren't nurturing talent anymore. Spider-Man with music by Bono? Seriously?
by Michael Maiello on Wed, 10/20/2010 - 5:43pm
Back in 2004, Mac Wellman began his Village Voice article regarding a general sense of optimism regarding American theater:
I had an article by Wellman I carted around for sometime in which he refers to those who shuffle around in the boardrooms as Furballs. An apt name I believe.
But I am greatly influenced by Herbert Blau when it comes to theater, and in his 1964 The Impossible Theater: A Manifesto, one of his primary targets is the vacuous Broadway, more concerned with money than art. And he lays quite a bit of the blame on the actors and other artists in the theater and not just the ones backing it with the money. I would posit, however, that Blau back then probably had no thought it would eventually arrive at Spiderman.
by Elusive Trope on Wed, 10/20/2010 - 6:39pm
Furballs! One time, back in the day my friends and I put on four plays at once. We called it The 4Play Festival. Among the plays was Seven Blowjobs (directed by me) and Sincerity Forever (directed by my close friend). Those were goods times. Wellman is a great guy. Very inspiring and he's certainly made his career as he would have it. No compromises. Sometimes not even to logic. But I love his Dracula and the entire Crowtet.
by Michael Maiello on Wed, 10/20/2010 - 6:46pm
Well, anyone who will discuss chaos theory, fractures and theater in the same breath has my vote.
I did see a production of Murder of Crows, and there was a bit thrown in by the troupe where the crows do a little dance to the tune Fly Me to Moon. An image now forever associated in my brain with Frank's music. Even in Portland where I saw it, it had maybe a dozen or so people show up. For the most part, quality theater will live on in the small, small productions, where people are not looking at making a living, but rather do it for its own sake. Kind of like the blogosphere.
by Elusive Trope on Wed, 10/20/2010 - 7:00pm
I love your aesthetic. And this discussion.
Thanks, all of you!
by Michael Maiello on Wed, 10/20/2010 - 7:17pm