IMAGINING FROM THE INSIDE AND OUTSIDE

Bookshop owner Brother Kiyi says in “Fix Up," “You can't replace history with hair gel.” But progress in many different incarnations is afoot in Tottenham and indeed London-at-large that may be tantamount to the history/hair gel substitution. The play addresses the tensions between the black intellectual and the black activist-cum-entrepreneur. But the play also examines the notions of race. The obvious examination is that of black versus the white establishment, but there are more complicated racial tensions illuminated in the play. Alice, the beautiful multiethnic visitor, shows up. Her biracial identity adds another layer of sociopolitical intricacy to racial issues. She has come to survey her history, a history that she seems to know little about having been raised in predominantly white English environs. The relationship between Alice and Kiyi, and the various racial identity and gender-related questions it raises are intriguing. Is Kiyi’s commitment to the blackness that he hails weakened by his history with a white woman and his procreating of a biracial daughter? Is he less a man because he abandoned his daughter and abused his ex? Is Alice tragic because she is biracial or because she is disconnected from her past? What of Alice’s actions with regard to Kwesi? Do they make sense or are they a reflection of her gender/racial ignorance? Please discuss these characters as well as any others that you found illuminating or, as the case may be, frustrating.

THE QUESTION OF CONSENT

David Harrower’s “Blackbird” is, in its dramatic heart, a two-person play even though other voices/characters make their mark on the journeys of Una and Ray. The foundation of the conflict between the two has to do with underage sex, an affair that occurred when Una was only twelve and Ray wasw forty. The morality of pedophilia is complicated by what sometimes seems to be genuine need and desire so that the spectator cannot easily come to decisions about right and wrong, historically or in the characters’ present-day lives.

Was Ray a child molester? A predator? Morally wrong? Should he have known better to have an affair with a twelve-year-old? Has he been more successful in absorbing and processing their shared history than she has? How? Why?

What about Una? Is she bitter and vengeful, or is she curious? Was she innocent in the events of their past or as culpable as Ray? Like the song, Una seems to have been waiting for this day to come face-to-face with her former lover. What do you think that she believes she can gain from this encounter? Should she have let sleeping dogs lie or…?

The question of consent is on the table in this play. Informed consent… uninformed consent… no meaning no… yes truly meaning yes, etc. Questions such as what is love, when is love possible, what is child abuse, etc., become central to investigating the beautiful constructions of character that are Ray and Una – like them or not.

"There’s a longin’ in me for her that won’t quell..."

Marina Carr's Hester is good material for studying deep execution of a character. The playwright reveals character not merely through the character alone, but also through her actions and through other elements at play in the environment. For example, the time of day, the landscape of ice and snow in a bog, and the mood set by music (a lone violin) all contribute to the developing portrait of Hester. When Hester drags the corpse of the bleeding black swan through the snow, colors contrast as well: the white snow, the black swan, and the red blood. The scene paints a picture of Hester and her determination. Also, note that the swan is not just any swan, but a named one – Black Wing – one known from childhood, one that had stopped her from leaving the bog before, and one that she discovered dead in the bog. Also revealed is a superstition about interfering with black swans. The fact that Hester has indeed interfered also reveals dimensions of her character.

Please think about the arrival of the Ghost Fancier as well and what it may tell you about Hester’s character given her interactions with him. The Ghost Fancier intimates that swan is Hester’s shadow. Furthermore, he has been following her for a long time and is surprised she is alive, since he only trails ghosts. He’s mistaken the time; it’s dawn and he meant to come at dusk – so we know right away that the events of the play will take place in less than a day.
The playwright establishes what is at stake for Hester early: the most important thing with regard to her potentially imminent death is her daughter, Josie. At that moment, the spectator (particularly if that spectator is a playwright) should consider the significance of the mother-daughter relationship and its centrality to the heart of the play.

Monica arrives and makes another connection between Hester and swan: that she, like the swan, is half frozen. She also tells us climate is going to get even colder. Hester wishes the ice age would return and swallow up humanity – a sign of her desperation and despair (over what Carthage has done), what Monica calls “brooding.” The women’s dialogue reveals that the entire parish knows what Carthage has done. How might that make Hester feel?

Certain conflicts that are central to the play are clear by the end of the play’s very first scene: Hester vs. Fate, Hester vs. Self, Hester vs. Carthage, Hester vs. Caroline, and Hester vs. Society (the parish).

Given this writing and the rest of the play, reflect upon one of the characters – preferably Hester – and what you learn about execution of character due to Marina Carr’s writing.

BOYS TO MEN

One of the most telling comparisons that the character of Hally makes in “Master Harold” …and the boys is that a young boy with a disabled father being much like a white young boy with a black man. Interwoven in this seemingly simple statement are decades of racism in South Africa and the political genes it has sewn into the soul of Master Harold. It is 1950 in the play. The political system of apartheid was created in 1948 in South Africa to separate those who were white from those who were “coloured” (mixed race) or black. The system disintegrated in the early 1990s. Prior to the formal establishment of apartheid, systematic and systemic racism already existed in South Africa, which is evident in what Hally says about his past at the Jubilee Boarding House with Sam and Willie. Hally’s comments touch upon the searing core of this play: the relationship between Hally and Sam who is, for all intents and purposes, his father. Buried underneath that and indeed compelling that parental bond is Hally’s (non-) relationship with his biological father, alcoholic and disabled. The damage from that relationship informs the way that Hally treats Sam from the history of the play to the actions within the play, in particular Hally’s act of spitting in Sam’s face as one would spit at a dog, as Willie notes. Through these various behaviors we learn a great deal about Hally and Sam, but also about Willie and the disability of Hally’s youth.

Sister Rose is an enigmatic figure; she conjures up memories that are both positive and negative. When she reappears, only half of her physical self is there. Do you think that has any reflection on the nature of memory and, if so, why or why not? Note this exchange and the view of Sister Rose’s family member (though suggested and not articulated) and Edwin’s view of Sister Rose:

“EDWIN: And I don’t think Sister Rose was a maniac either.

MARCIA: Well, that’s where you’re wrong.

EDWIN: Lemme tell you something: You know who taught me how ta ride a bike? Sister Rose. You know who told me I was handsome all the time till I started believin’ it? Sister Rose…”

SISTER ROSE AND COMPANY

One of the most interesting elements of “Our Lady of 121st Street” is that we learn about the characters in the play through the absence of another character – Sister Rose. All the characters in the play are united in their desire/need to be present at Sister Rose’s funeral. What we learn about the characters is via their reactions to her absence as well as her former presence. This occurs in the midst of the play’s serio-comedic tone rich with witty, multiple-layered, dialectical dialogue and quick changes of scene. Given the title of the play, does Sister Rose strike you as the play’s most enigmatic, well-developed character? Why or why not? Which character makes the deepest impression on you and why?

THE PLAYS ABOUT WAR

Many of you are writing plays set in times of war. There have been several interesting items on the news about the psychology of both active-duty soldiers and young veterans, particularly with regard to the difficulty that new returnees are facing today with regard to finding jobs and the rate of suicide among active-duty personnel. Exploring some of these issues in your writing research could be very useful in understanding your characters more deeply. With the job acquisition issue, a key dimension has been the transition from feeling like a leader with a job that meant something and shifting to labor that, in comparison, feels meaningless to some of the returnees. Here is one example:

1 in 8 returning soldiers suffers from PTSD, But less than half with problems seek help, report finds

http://www.msnbc.msn.com/id/5334479/

NEW YORK TIMES REVIEW OF THE PLAY

http://www.variety.com/review/VE1117927342.html?categoryid=33&cs=1

HAPPYNEWYEARMARTINLUTHERKINGJR'SBIRTHDAYHAPPYVALENTINE'SDAYPRESIDENTS'DAYGOODFRIDAYHAPPYEASTERMEMORIALDAYHAPPYINDEPENDENCEDAYLABORDAYHALLOWEENTHA...

The rush-rush of the numerous holidays celebrated by humanity has a critical impact on Mary in Part 3. As she says (surprising herself) to herself, God, and the world, "I'm sick of holidays." What do you think the rush (and her reaction) means to Mary in terms of her desires for her life?

In Part 4, Mary has made the decision to leave Crick. Do you think it's sudden or cumulative, and why or why not? Reflect upon postures of violence that Mary has seen in Crick before Part 4, and what relation they bear to the bat he holds in Scene 6 and his grasping of Mary's neck.

The last stanza in the song at the end of the play could speak to Mary's transformation over the course of this play and also the evolution of Blue. Reflect upon both perspectives and share your thoughts.

"Oh, find me a child
Who grows into a girl
Who rides like a man--
With a mask."
-- Sarah Ruhl

Part II, LATE: A COWBOY SONG

Why do you think Mary married Crick?

Mary believes in Blue's future even though she can't see it:

"MARY: Things aren't going to be weird. Things are going to be -- fine."

Crick believes in the future of the painting even though he also can't see it. Mary is making an investment in Blue's future (as is Crick). Crick also believes he made an investment in all of their futures by buying a painting for $500.00. What do these choices and opinions tell us about their respective characters?

What does Mary want in Part 2, Scene 1 that she expresses simply in the desire for her savings? And then there is his fist at his side... why does Mary react the way she does to this?

In Scene 2, Mary learns to be a cowboy and calls herself a "flight animal." What does this tell you about who she is?

What do we learn about Crick in Part 2, Scene 3? Why is he concerned about whether or not Mary went out, and about whether or not she is wearing eye make-up?

On one other occasion before Scene 5, Mary notes Crick's idiocy and immediately apologizes. Now she does it again. How might this indicate changes in Mary and what kinds of changes might they be? Here are some notions that consume her psychologically: Crick without a job... borrowing savings... a painting she doesn't see as an investment, quitting her job, Crick getting fired... What conflicts are at play that alter relationships in this play?

What does Mary learn in Scene 6 and how does it change her?

Regarding Scene 7, how would you feel if someone read your diary or journal? How would you feel if your partner lied to you about his or her whereabouts? Apply this to what you learn about Mary's character.

Why does Mary come back in Scene 8? What do you think of Crick's insistence that Mary no longer see "that cowboy"?

More on LATE: A COWBOY SONG

Note how the title comes into play at the outset of Part I, Scene 1 (as it will in other scenes) and think about what this reveals with regard to Mary's character and Crick's. Does Crick feel like a house husband to you in Scene 1? Why or why not? Consider his dialogue and actions including what he says about others and how that might reflect upon him. Consider what Mary may say or infer about him.

Crick is the first to connect Red to the Marlboro Man. In the initial description of place, Ruhl describes the Marlboro Man hovering in the distance. Consider Red as hovering int he distance. What could that be saying about Crick and Mary's relationship versus Red in their memories and Red having reappeared in their lives? Is anything an accident or coincidental? Does everything happen for a reason? Could Mary and/or Red consciously or subconsciously have brought bout this seemingly chance encounter? Do yo think Mary or Red initiated the idea of having coffee together? Do you believe Mary's reasoning of why she chose Green Shutters? Why do you think it bothers Crick so much Is Mary lying about what she consumed at Green Shutters? Why do you think she lingered at the restaurant even though it made her late for dinner? Why is Crick pained towards the end of Scene 1? Why, at this point in the play, do you think Mary wants to see her mother? The scene establishes desires for both Mary and Crick. They love each other. He seems to need her more than she needs him. He also needs her financial support. Mary wants to see Red. Mary may be close to her mother. Think about how much you learn about Mary and Crick (as well as about Red) in one short scene.

In Scene 2, Red's reference to a crick means a creek. Consider that with regard to the fact that "crick" is also the name of the lover of the woman with whom Red has had coffee. What do we learn about Red in this scene and what further illumination does it lend to what we heard about her in Scene 1 and on the cast/place pages?

Scene 3 opens with Crick stating the same words that he did at the outset of Scene 1, but posed in an entirely new way and referencing a more critical change in circumstances for Mary and Crick. We learn through actions, through the announcement of a pregnancy, through a proposal of marriage, through the proposal of a name for the coming child, through Crick's wish for a boy, and through Mary's ultimatum that he gets a job. Why do you think that Crick did not have a job before? What impact do you think this may have had on his relationship with Mary? What did you think when they discussed the borrowed $500?

What do you learn about Crick in Scene 4? Note that he was conceived near a creek and therefore named Crick. What does that make you think in relation to the song that Red sang? Crick seems to come from open land, but is he still of the open land? In what ways is he like a creek or not? Do you think he was made fun of when he was little due to his name? How might this have shaped who he is today? Do you think he's smart? Why or why not?

Reflect upon what you learn about the characters in Scene 5 and write about it. Regarding Red, consider who she is with regard to babies, museums, city food, being in the city, men, war, and domestic violence. Regarding Mary, consider the character in terms of war. Who is at war in this play and in what ways? Why does Mary consider Crick as her onion and as someone else's water lily? What might Mary's desire to have her daughter be independent reveal about Mary's character? In what ways doe Red reveal a desire to have Mary more deeply intertwined in her life? How does the song in Scene 6 augment Ruhl's execution of Red's desire?

Reflect upon the painting as discussed in Scene 7 and before. Think about it literally. What does it mean to Crick? What, literally, might it mean to Mary? Now think about it figuratively. What precious thing does Mary "own" and how many times a day does she look at it? And, in her view, what does Crick "own" and how many times a day does he look at it? Does he revere Mary? Why or why not? In what ways is this reflected upon in Scene 8?

In what ways could Scene 9 be discovery for Mary regarding her relationship with Crick? What do you think Crick sees when he looks at her? In what way could the making of soup affect Mary's view of her relationship with Crick and of her pregnancy?

Why and in what ways is Mary thinking about change in Scene 10?

In Scene 11, let's think about what Mary may think about Crick not wanting to go to her mother's, about the fact that he does not say hello to her, and about his reaction to the film.

Mary is not happy in Scene 11 and she talks about the right to happiness in Scene 12. What does that say to you about her character and her desires?

Let's think about desire again. What does Mary want in Scene 14? What does Crick want? What does that tell us about their characters?

In Scene 15, what does Crick's reaction to the baby tell us? Mary's reaction? What other elements of unexpectedness or things that are "between" exist? Are Mary and Crick as a couple such an element? Is Mary such an element?

When you think nobody is left to cradle you, someone will be there, Scene 16 seems to suggest. Someone in the world can be responsibly reliable, perhaps from the point of view of emotion and emotional intelligence. How does Scene 16 strike you and what do you learn from it?

The young playwrights in undergraduate advanced playwriting at the University of Southern California School of Theatre are beginning a discussion about the characters in Late: A Cowboy Song by Sarah Ruhl.

We have talked about the critical need to know one's characters. The more you know about the characters that you intend to include in the world of your play, the more organically the story will flow. Investigating your characters intensely will deepen your understanding of their desires, hopes, secrets, fears, and dreams, which will resonate in your writing, hopefully making it clearer and more powerful.

Our consideration of Ms. Ruhl's characters shall begin on the Cast of Character and production information pages. Immediately, Ms. Ruhl begins the characterizations of the three individuals populating her play -- Crick, Mary, and Red -- as she notes brief attributes of each on this page, including mention of the pace of their speech patterns. Dichotomies are at play that should pique one's interest whether you are an actor preparing for a role or a playwright observing the ways that another playwright builds her characters, the description of the place also hints at character: "a silhouette of a messy kitchen." Although we do not know, at this point, whose kitchen it is, we may wonder if its messiness illuminates something about the nature of its owner. That the playwright wants the messiness to own a hyper-realism also provokes curiosity about the ways that we should consider the characters given the nature of their physical world.

In the notes on production, Ruhl reveals a bit more about character: the colors of the kitchen, "Reds, blues, greens -- think of Rothko," which may illuminate something of its owner.vvShe also tells us that Crick is obsessed with modernism and Mary with open land. Since we know that Red is a cowboy, we can begin to deduce a connection between Mary as a lover of the open land and Red as a cowboy, one who naturally is a part of or desires to be a part of such a landscape. And all this before the play even begins.