(no subject)

[deckardcanine]

Last Friday (so why did I wait till now to report?), I ushered The Arabian Nights at Arena Stage. Understandably, it did not include the three stories best known to the West, which might merit their own full plays. It took a rather abstract approach, with actors playing multiple characters across stories; when they weren't in the story, they sat watching at the edge of the stage. There could even be triply nested stories on occasion, reminding me vaguely of Inception. The costumes, of course, required less imagination.

As often happens in plays, the first of two acts was the more humor-oriented. When a hideous bride played by a man in drag said, "Bow chicka bow wow," I knew just how much suspension of disbelief was required. One nested story that was merely told rather than acted out did not name names but clearly corresponded to the revolution in Egypt; the audience applauded while I wondered what other events they might have covered at other times. The last laugh before intermission was more Adam Sandler-level, but still largely appreciated.

At intermission, I overheard a patron say, "No subtlety in this play." Then I started reflecting on the many plays I've read or watched over the years... and could think of very few with any subtlety, even among smart and mature plays. Maybe I'm just slow to notice these things, but I think the medium, with its reliance on strong expression to reach the back rows, simply doesn't lend itself to subtlety.

Incidentally, the next play I'll usher is Who's Afraid of Virginia Woolf?, which actually does have some subtlety. I'm not even sure I parsed it correctly the first time.

Comments

[nefaria.livejournal.com]

Hmm, I think the primary subtlety of plays occurs when there are implied meanings, when people say more than just the words. That seems to happen quite a bit in the plays I've seen.

I can't recall much subtlety in children's programming, especially the My Little Pony episodes I've seen recently, unless you count in-jokes.