theatre analyses.
God of Carnage: Excavating modern day behavioral roots
Prepare to be swept away on a frightening journey into the vastly underdeveloped world of mankind in San Jose Repertory Theatre's production of Yasmin Reza's "God of Carnage". The play's intention, aimed at interpreting the complexity surrounding human development, more specifically our perpetually habitual tendencies to regress back to a barbaric mentality fueled by base emotions and impulses, was effectively portrayed through sharp staging, blocking, the utilization of apparel, the magic of sound and, most significantly, the architectural set design. By the end of the performance audiences are left facing a grim reality that our capacity as humans to exhibit an incomparable savagery, conventionally deemed ancient and draconian, continues to coarse through our veins today.
Upon entering the theater, audiences face a juxtaposition of modern furniture (sofa, arm-chair, coffee tables and fireplace) and the cave-like fossil backdrop, as well as sand and rocks extending beyond the stage proscenium, that establishes the archaic world engulfing the present day characters. Additionally, the ground flooded with a bold red color evokes the biological legacy these modern homo sapiens have inherited from their primitive ancestors, while the feverish jungle music only enhances audience bewilderment by conjuring exotic wonder and intrigue. In short, the stark contrast of set design elements assists the audience in bridging a correlation between old and new worlds, which are ultimately implied to be one and the same. Moreover, aside from the set design, the inevitable fusion of contemporary and archaic worlds is displayed through the drastic morphing of character interrelations, progressing from amiable discourse to abrasive discord.
Initially, the recurrent positioning of actors in an arc-shaped formation, or women facing and conversing with one other in the middle while men brood on the sidelines, greatly underscored the moments of suggestive dialogue portraying women as natural mediators. However, this arrangement proves to be short-lived as the argumentative intrusiveness of the male characters incrementally begins to disrupt the balanced formation. Although the extreme depiction of wild, untamed conduct and incendiary language reaches a climax toward the second half of the performance, director Rick Lombardo ensured that the true colors of each character are recognized to be lurking beneath the surface from the play's inception. For example, when Alan is gorging himself with Clafouti, while meandering through the living room and talking with his mouthful on his cell phone, his lackluster attempt at sweeping crumbs under the coffee table with his foot compels the audience to observe his seemingly innate, crude nature. Additionally, although not mentioned in the script's stage direction, Annette is seen popping pills in an obstensible attempt to ease her anxiety or annoyance with her husband. This act of self-medicating clearly insinuates the usage of modern means to tame the instinctive, hereditary and dormant beast ready to emerge on a whim in all of us.
It is only when the explicit animalistic qualities of the characters surface that the audience witnesses dramatic physical contortions, manifestations and costume alterations which also play prominent roles in representing the deterioration or regression of each character. Both Veronica and Annette's lascivious advances and encounters with the other's husband, along with Alan's provocative positioning behind a slumped Veronica as she wrestles to attack Michael, arouses a shameless lust. More specifically, the role of human sexuality acts as another essential element in illustrating human conduct driven solely by low, carnal agitation. Additionally, Annette walking on her feet and knuckles, reminiscient of an ape, as well as Alan sitting "indian-style" similar to a pouting child, reinforces the deterioration of adults to an immature, underdeveloped state. In terms of costumes, the similar actions of Michael and Veronica tearing off their coats in a frenzy, coupled with Annette literally "letting her hair down" and the subsequent rage these actions generate, reflect the deliberate liberation of oneself from the superficial facade of conditioned, social behavior, reverting back to a volatile frame of mind driven by gut impulses.
The play ends with the revelation of inscriptions on the rocky walls and spotlights featuring each of the characters in various poses in the living room. This final impression accentuates the fact that based on our ancestry, our capability in unleashing impulse-driven maliciousness continues to live on in our biological makeup. Furthermore, the juxtaposition of the prehistoric surroundings and contemporary furniture cleverly alludes to the fact that the human race has never truly developed, and that although we structure and implement behavioral codes of conduct to adhere to on a daily basis, we are constantly susceptible to descend back to a primal state of being. Although the concept cannot be suitably associated with every aspect of the human condition, in the case of humanity's predisposition in displaying a virulent, ferocious, aggressiveness we have learned that DNA loads the gun, and sociological events pull the trigger.
Overall, San Jose Repertory Theatre's take on God Of Carnage offers audiences a worthwhile representation of the intricacies of human development, ranging from adopting learned values through socialization to allowing inherent primal instincts to overwhelm and take control. Although character portrayals undoubtedly had their comedic moments, mostly due to the characters' outlandish and drunken stupor, the director was routinely effective in revealing the graveness of the issues at the core of the ensuing hilarity. Moreover, the abrupt moments of silence and pause provoked the consciences of audience members by anchoring us back to reality and reminding us of mankind's universal vulnerability in exhibiting low, animal behavior. In the end, one leaves the performance ultimately identifying with some of the extremely disturbing traits manifested, triggering profound sensations of both sadness and discouragement in the hearts and minds of viewers. Given the fact that the primal behavior of the characters ignites a hotbed of rampant, ugly, viciousness, we can only associate this primitive mentality as the possible origins of mankind's broadly historical pattern of engaging in destructive conflict while neglecting to address the toxic and fatal ramifications.
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Proof: A bittersweet affliction
The depths and wonders of the human mind pave the way to unprecedented academic heights, glory and, ultimately, personal stagnation and deterioration in San Jose State University's production of David Auburn's Pulitzer Prize winning play Proof. The play's central theme addressing the hotly debated fine line between genius and madness, the associated mental lows and highs, and the inevitable link between creative and debilitating forces, are interwoven throughout the production through the use of promotional material, set design, costumes, and character interrelations.
At the lowest point of succumbing to an unhinged state of mind, Robert vehemently describes his internal "power grid" that allows him to "[light] up...[and] accelerate" (70). Interestingly production flyers display a female silhouette, comprised of engine gears, mechanisms and mathematical inscriptions, which explicitly suggest that Catherine, too, is dominated by the crippling "machinery...working... on full blast. All the cylinders [on fire]" (70). Moreover the technological imprint, providing prospective audience members with a way of ordering tickets via Smart Phones, only underscores the concept of mechanical advancements, through the utilization of numbers and coding, pervasive throughout the show. Essentially, by merely glancing at promotional posters, viewers are offered a brief blueprint, or clues, in regards to the content of the production and, in particular, a very obvious spoiler to those who have studied the script.
In terms of the set design a tall black backdrop, composed of white blocks reminiscent of a jigsaw puzzle or Tetris game, surrounds the windows, door and porch, arousing inquisitive sensations and impulses in the minds of viewers. Also, the faded, rustic exterior of the house and porch live up to Catherine's characterization of the home as "old... [and] drafty as hell... [where] The winters are rough" (81). The warm, orange glow emitting from the draped windows, as well as the worn, antiquated scuffs, conjures a charming nostalgia of family property maintained generation after generation. Finally, this sense of familial inheritance radiating from the body of the home proves to be strong point of focus as the production evolves, while the unconventional disruption of events and their chronology emphasizes the importance of analyzing the past in order to make sense of the present.
During Robert's funeral, audience members witness a deeply ironic set of contrasting events highlighting the fusion of two prominent, inherent characteristics, or psychological defect and greatness, coexisting in both Robert and Catherine. Director Jacquelyn Montellato achieves this by establishing a prevailing celebratory and manic tone among the unseen funeral guests. More specifically, the juxtaposition of a festive euphoria ignited by Hal's band and the tragic, untimely death of Robert represents the exhilarating high of unprecedented intelligence at a terrible price. Additionally, Catherine donning a black dress while cloaked in her father's University of Chicago sweatshirt further demonstrates the unequivocal correlation between, and mourning of, abnormal cognitive brilliance and torment. What's more, as Catherine grieves over her father's death while confronted with the prospect of inheriting his insanity, she is also immersed in those passionately exalting the intellectual breakthroughs accompanying such an adverse affliction. In short, the underlying message represented through both scenic mood and costuming conveys an alarming reality that, in this case, remarkable individual highs and strengths can ultimately lead to catastrophic downfalls.
Actress Amy Roberts' portrayal of Catherine in a habitual fit of insecurity unearths the character's desperation in finding ways of resolving obstacles. At one point, Catherine shares an inspirational narrative about Sophie Germain, detailing how "She was trapped in her house... She had to stay inside for safety and she passed the time reading in her father's study. The Greeks... Later she tried to get a real education but the schools didn't allow women. So she wrote letters. She wrote to Gauss. She used a man's name. Uh - Antoine-August Le Blanc. She sent him some proofs involving a certain kind of prime number, important work. He was delighted to correspond with such a brilliant young man..." (35). Here, Catherine gingerly admits to finding a certain solace in Sophie Germain's legacy, while also foreshadowing doubtful, and possibly sexist, reactions from both Hal and Claire when she discloses that it was she who formulated the proof in question. After her unmasking, the viewer is left forming a parallel between Catherine and Sophie Germain. Following in Germain's footsteps of communicating ideas through an alias, it can be deduced that Catherine dictated the proof to her father, a man who would not face the iniquitous "customs and prejudices...[or] difficulties" women are historically subject to in the professional academic arena (36). This would also provide a reason why the proof is discovered in Robert's handwriting. Aside from initially wanting the proof to be associated with her father as a way of circumventing any gender bias, Catherine's actions may also be fueled by a subconscious yearning to fabricate an artificial sense that something worthwhile came out of the grueling years she spent caring for her ailing father.
Next the recurrent referencing of atmospheric temperatures, most notably frigid environments, is incorporated as a way of describing the individual isolation and estrangement from reality related to sufferers of schizophrenia. The foremost depiction of this pattern occurs during an outdoor scene where a disheveled and nearly hypothermic Robert is frantically scribbling in notebooks. At this moment in the production the striking theatrical elements, including dim lighting, an uncontrollably shaken and agitated Robert, and sounds of a piercing, blizzard wind, illustrate the alienated existence of those enduring mental disorders. In addition, Robert asserting that it is "the occasional blast of Artic wind...[that] keep[s] you on your toes..." reaffirms the aforementioned dynamic of madness meets genius, or how enhanced intellect and psychological instability run hand-in-hand (56).
Later Catherine divulges that she refused to "fix the heat... [as her and Robert] Decide[d] [they] didn't want to", effectively exposing a father and daughter's eventual surrender to an innately "cold" destiny (82). In a final scene, Hal confirms that he "[doesn't] mind cold weather. It keeps you alert," which is interpreted by viewers as his bold pledge in undertaking the formidable task of standing by Catherine's side during her impending volatile, or "cold", unraveling (81). Hal's commitment to care for Catherine, coupled with a final image of the pair posed close together, is further articulated through his subsequent comments that, "Maybe you [Catherine] will be better [than your father]... Maybe you'll improve it... Maybe you'll find something elegant" (82-84). However Hal's motives behind espousing the role of Catherine's caregiver remain unclear, due in large part to actor Lorenzo Hernandez and his awkward ambiguity and lack of poise in his performance as Harold Dobbs. An intriguing question remains: are Hal's noble actions driven in the name of science, or love?
San Jose State University's production of Proof leaves audiences pondering the idea of unconditional love and support in the face of extreme adversity and, echoing a previous course analysis found in God Of Carnage, the mysteries involving universal human development and psychological vulnerability. In both pieces, audiences learn that each individual's capacity in creating one's own heaven or hell in life stems from a distinguished, common origin: the significant influence of ancestral DNA. On a more personal note, Catherine's endeavor in caring for a mentally ill loved one, while grappling with the profound trepidation of enduring the same fate, is a familiar challenge. Finally, the broad uncertainty of what lies ahead for Catherine at the end of the show leaves one feeling devoid of answers regarding what the future may hold, offering merely a prolonged level of suspense and intrigue.