The Dead Eye BoyIn choosing our second play, I was faced with the dilemma of being attracted to a piece that in many ways could be compared to our first, Dogs Barking. Both plays are extremely provocative and have an emotional immediacy that do not allow an audience member to sit idly by - detached - as if watching some mind-numbing reality TV show. Indeed, this kind of theatrical work is compelling to me because in no way does it possess that TV-derivative quality that is sadly so often depicted onstage today and encourages our shying away from exploring more dangerous material because it's not "commercial," or it's too confrontational or shocking. It is challenging (not to mention terrifying and humbling) to work on material in which characters struggle with complex, often unpleasant realities that most of us would rather not face. I am drawn to theatre that reflects our current station in life. I personally may not be an addict, but the struggles between the dualistic light and dark natures that exist within each of us are universal. Who am I to sit and judge someone who has a specific problem that seems far removed from my life experience when I can see that collectively - being human - I struggle with the same demons? They may manifest themselves differently for each of us, but the effort to overcome them and emerge victorious is universal. I am not so much interested in the crucifixion as I am in the resurrection: that powerful, all-knowing, life-affirming light that glows within each of us and is really the inspiration for our overcoming life's difficulties. It is our spirit, our courage or as Shirley-Diane says in the play, ".{it is} real strength, not this bitch crap " that we need in order to survive. Director Anthony Meindl Director's Notes - September 17, 2003 back to Theatre History > |
