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experimental theater

A Thought in the Dark

A Thought in the Dark

That is, I believe, why I read poetry and seek out jarring art: for a cognitive sneak attack that tricks me into thinking in new ways. It is also why the smart, minimal, dark, rhythmic, unexpected staging of New Paradise Laboratory’s Hello Blackout! won’t leave me alone even now, a month after my having seen it. The piece was choreographed to trick me into thinking in a feeling-being-melancholic way about some big ideas.

Stranger Kindness, a review

How does language make meaning? When we witness a narrative unfolding – especially one that is structured and performed as fiction and thus as a composition to be comprehended – how tightly do the words need to relate to the structure of the story to be relevant? We see it all the time – the words we speak careening from direct communication to a masking of subtext to comfort-inducing digressions. Language folds and overlays and flees meaning and yet somehow we are able to assemble stories from its incredible choreography. Such complexity! And still we find time to revel, on occasion, in the pleasures of language.

Stranger Kindness, a violently disassembled adaptation of Tennessee Williams’s A Streetcar Named Desire, features Marlon Brando’s recorded voice (from the movie) in the role of Stanley Kowalski. It’s a movie I’ve seen countless times – a hot and raw  film indulgent with the sweet pleasures of language. The story is a classic tale of a fallen woman, returned to New Orleans after losing everything and leaving her hometown in shame. It’s a story about masculinity and femininity, and the tortuously structured choreography of a woman’s role in a world dominated by men. It is tragic and elegant, and one of my favorite movies. I recommend seeing it.

Then, I recommend going to Stranger Kindness. None of the rest of the lines in the play spoken by the actors are from the actual play.  Rather, they speak lines from other plays and other texts. The cast learned the original lines first, along with the original intonation – the accents and the mid-century exuberances – and matched it to the blocking. Then the directors (Lola B. Pierson and Stephen Nunns) replaced the lines with lines from other texts that were relevant but egregiously different. Stella and Blanche and Mitch argue and cry out and insist with complete conviction, but with the wrong words. Sometimes the words are relevant – when Blanche is disappointed by someone’s reaction, she says, for instance, "One day you'll be blind like me and you'll be sitting there a speck in the void," words that get at the emotional valence of the moment but fudge the informational content. Or Blanche’s suitor, Mitch – the man who just might be her last hope for a decent life – while trying to force an unwanted kiss will pronounce feminist critiques, declaring “Woman’s degradation is in man's idea of his sexual rights.”

Sometimes the words themselves are a commentary on the actions of the character – the critic’s voice moving through the scene. Sometimes they are a displacement of meaning. Sometimes they are just funny. The whole experience is uncanny, difficult, and exhilarating. The actors’ exaggerated body language and intonations loudly structure the meanings of their utterances, so that we can pretty much read the intent, but the language they use both undermines and enlightens the scene. We are never certain if the text is text or subtext or commentary or just confusingly relevant; because of this, I spent the entire play as a birdwatcher in a language sanctuary, observing the behaviors of words, seeing how they accrue to meaning and leave it, and occasionally stepping aside from the confusion of it all to wonder at the sublime mechanics of this system we take for granted.

In a nod to the great Polish director Jerszy Grotowsky, the audience is seated above the stage, looking down upon the action. I was not sure why Grotowsky did this, and if there was some meaning in the Acme Corporation’s version it was lost on me as well. There were also a lot of televisions with cut up scenes from the movie occasionally interrupting the action. For me these were helpful as a grounding device, but I suspect there was something deeper intended with them that was lost on me.

The play is also, of course, about mental illness – such a taboo and important subject. I often feel that art is all about mental illness in some way or another – at least the art I enjoy – as it tends to break with standard patternings for “normal” life, working both as a critique of normalcy and a remedy for it. We track mental illness primarily through language. Most markers for madness are perceived through language and, more specifically, through language that deviates from expectation. This production is all about that deviation, so it is appropriate that Blanche only returns to the original text at the end, when she is being carted off by the men in white jackets. It is the title line – her go-to line: that she has “always depended upon the kindness of strangers.” The final note of Blanche’s story is a desperate grasping for a normalcy that will everafter evade her, and one that this adaptation refuses to strive for at all.

The Acme Corporation’s Stranger Kindness is directed by Lola B. Pierson and Stephen Nunns, and is playing at St. Mark’s Church at 1900 St. Paul Street in Baltimore through Dec 17, 2016.

More info here.

review by Abraham Burickson
cover image by Tania Karpenkina