RAT Cripples, Citics, and WIT (ties multiple threads...)

["Glen 'Skip' Newell" <skipworthy@hotmail.com>]

I find it fascinating that two threads, namely  the 'what is a critic'
discussion and one on censorship should be occurring simultaneously...

I had the good fortune yesterday of landing a couple tickets to see Margaret
Edson ( the author of  WIT) speak. Of course, as you might expect, she was
bright and fascinating and funny and tremendously entertaining. but that's
another topic...
Two things struck me about what she had to say, mainly; one, that she was
totally glib about what she had accomplished,  quite nonchalant about having
written a Pulitzer-prize winning play, which has become what some consider
to be one of the most important plays of the decade (' I don't really know
anything, I'm just a kindergarten teacher', she says...) The other was the
actual process by which the play came to attention- which is not in itself
extraordinary, but that such a sudden turning  of opinions took place.

It occurred to me, as she related the history of the show's production that
she went through what many playwrights did, but that she also took care to
mention that the initial objection seemed to be ( aside from the play's
initial length ) that ' the world wasn't ready for a play that called
attention to the issue of breast cancer'. According to her, this was never
her intention ( she says the character and her specific situation were
secondary to the process)- the play is about ( and I hate to spoil it for
those who haven't seen it) a Woman's journey to knowledge of  THE TRUTH,
from head knowledge to knowledge of the heart.

I also saw 'Cripple of Inishman' last year when it was being done at the
DCPA- It's a beautiful play, moving and funny and well-crafted, and this was
a top-notch production. ( I recommend the play strongly- if you get a chance
, go see it...)

In addition to the Cripple, the play has as characters; a murderer, a woman
with a serious eating disorder, and a pair of functioning alcoholics. The
script spares none of these people either the sword of rebuke, nor the
compassion of a gentle laugh. throughout the play, the audience is led to
love these folks in spite of, or even because of these flaws. The Cripple is
no more put purposefully in a disadvantaged position than anyone else on the
island- in fact, he is established as one of the more capable and sensible
of the inhabitants, if ultimately humanly susceptible to vanity. Again- a
whole bunch of people missed the boat on all of that- even some who saw the
play.

The common theme here, seems to me , is that people will and do make
judgments and decisions based on what may be false impressions, and they do
in fact affect what gets produced and by whom and when. The difference is
that a Reviewer or Critic has the power to broadcast these thoughts to a
whole bunch of other people , who will then include these thoughts in their
own decisions, sometimes (unfortunately) blindly. Thus, the editorial
responsibility rests heavily on the shoulders of these writers, to be as
clear as they can about what they write; perhaps moreso for the 'Critic' and
the person who puts himself out there as an expert, because their opinion
carries more weight.

Where does the loyalty of the journalist lie ( Reviewers and Critics are
both Journalists)? That is a question that has haunted journalists since the
beginning of mass-media. In my opinion, and I think this is fairly common,
The ideal situation is one where ( as Cat pointed out) the writer is both an
honest analyst ( if a production sucks, it sucks- no sense hiding it) and a
defender of the common good; to give a straight accounting of a show's
faults without scaring away potential customers, and also too keep from
encouraging 'bad' theatre is a difficult line to walk. Writers who maintain
their integrity (Like Cat) are few and far between. Most know where their
bread is buttered.

S.









----- Original Message -----
From: "Greg Romero" <gregoryromero@yahoo.com>
To: <rat-list@whirl-i-gig.com>
Sent: Monday, April 02, 2001 10:29 AM
Subject: Re: RAT Fwd: Burien Little Theatre Is Under Attack From Censorship


>
> Llysa, thanks for posting this info with the
> RATs.  Something strikes me about this
> organization DAHRT.  Recently I have taken a keen
> interest in children with special needs and have
> begun researching, studying and educating myself
> about children with emotional, physical and
> mental disabilities.  One of the first bits of
> information learned is the use of "people first"
> language within the profession, which is then
> hoped to serve as a model for laypeople to begin
> using.  For example, instead of saying "disabled
> child", one should say "child with a disability".
>  The idea is that it works to include persons who
> are challenged within a larger whole rather than
> put challenged persons into a stigmatized
> compartment.  Besides their lack of sensitivity
> and understanding of a play as touching as
> "Inishmaan", I think DAHRT's credibility is
> really comprimised by their outdated use of
> reference.
>
> But then again, I guess AWDHRT or ADHRT sounds
> silly.
>
>
>
>
> --- Thsimple@aol.com wrote:
> > This is really amazing!
> > Or is it?
> >
> > What do you think? I am very curious...
> >
> > DAHRT has a website - you can respond directly,
> > I believe...
> >
> > Llysa
> >
>
> > ATTACHMENT part 2 message/rfc822
> > From: Robert Edgmon <robert.edgmon@dig.com>
> > To:
> > Subject: Burien Little Theatre Is Under Attack
> > From Censorship
> > Date: Mon, 26 Mar 2001 19:26:05 -0800
> >
> > To All Supporters of the Performing Arts,
> >
> > Burien Little Theatre (BLT) is currently in the
> > middle of running "The
> > Cripple of Inishmann" by Martin McDonagh and as
> > a result, is currently under
> > attack by Disabled Americans Have Rights Too,
> > (DAHRT) a group that has in
> > the past successfully sued the Tacoma Dome and
> > is currently suing Garth
> > Brooks.
> >
> > DAHRT, without seeing the play, finds the word
> > "Cripple" in the title of the
> > show offensive enough to demand that the show
> > be closed down.  This group
> > has sent a letter of protest to the City of
> > Burien ( from whom we rent our
> > space) and the local newspaper stating that
> > running a play with the word
> > "cripple" in the title perpetuates prejudices
> > and bigotry against disabled
> > Americans.  They have approached local
> > businesses and asked that they stop
> > supporting the theatre, they have gotten
> > posters taken down and are
> > threatening to picket the theatre.  To a
> > theatre the size of BLT, where we
> > exist only from show to show, these actions
> > threaten our existence.
> >
> > There is a fine line between sensitivity and
> > censorship.  Far from being
> > insensitive, "The Cripple of Inishmann"
> > accomplishes more in an evening than
> > multiple sensitivity classes because it both
> > entertains and causes
> > self-examination.  However, DAHRT feels that a
> > word in a title is so
> > distasteful that it outweighs the positive that
> > over 111 pages of script
> > bring to an audience, a performance that DAHRT
> > has never seen.
> >
> > However, the reality of the matter is
> > economics.  Should DAHRT succeed in
> > driving away audience members, censorship has
> > won.  Because at the end of
> > the day, without an audience, BLT cannot pay
> > its bills, cannot continue.  If
> > DAHRT succeeds, BLT will be forced to choose to
> > perform only those works
> > that have no chance of offending anyone at any
> > time.  If one word in a title
> > can cause a show to be shut down, imagine what
> > shows we will be limited to.
> > And a DAHRT success at BLT will embolden them
> > and other groups like them to
> > censor other, larger theatres, live
> > performances and art shows.
> >
> > The only way to stop censorship is to get the
> > targeted work out to as many
> > people as possible.  BLT needs your help.  If
> > the growing shadow of
> > politically correct censorship concerns you,
> > please show your support for
> > the theatre, the actors and production crew by
> > sharing this message with as
> > any many people as you can.  If we can show
> > that the attendance for the
> > final six performances of "The Cripple of
> > Inishmann" has not been affected
> > by this baseless protest, we will have sent a
> > message that stimulating,
> > thought provoking live theatre will not be
> > bullied into silence.
> >
> > Thank you
> > Robert Edgmon
> > President and Artistic Director
> > Burien Little Theatre
> > 206 242 5180
> >
> >
> >
> >
>
>
> =====
> Greg Romero
> Dramaturg
> rm 120 theatre
> PO Box 300165
> Austin TX  78703
> (512) 481-8366
>
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>
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