from Kristin Leahey, Resident Dramaturg
As a dramaturg, as a literary manager, as an audience member – the first question I ask of the performance event I am experiencing, or of the play that I am reading is, “Why this, why now?” The reason I am entranced by theatre, perhaps the reason I wanted to make a profession out of it, is actually quite formulaic: I am drawn to work that pushes theatrical boundaries (e.g., in terms of complex narrative structure and multiple protagonists, in terms of revolutionary and multidisciplinary design elements, in terms of deft language and dexterous movement); PLUS it draws a deep connection to the audience so they feel they are simultaneously moved, entertained, educated, and startled; PLUS work with strong socio-political-ideological perspectives that in turn incite dialogue, that in turn may lead to a form of explicit or subversive positive social change.
Yes, I realize this is a complicated algorithm that rarely is completed, but I have proof that it is possible to solve.
For instance, while attending The Emerging America Theatre at Boston’s ART (American Repertory Theatre), I encountered Rachel Chavkin and TEAM’s (Theatre of the Emerging American Moment) ensemble-based piece Particularly in the Heartland, a devised theatrical work whose characters include a neo-Dorothy thrown back into Kansas, a group of orphaned children, an (illegal) alien, and Bobby Kennedy. Through a complex movement vocabulary, stunning image work, and a superlative cast and virtuosic direction, Particularly in the Heartland grapples with the current economic crisis that, in particular, has affected the heartland of America. It’s a work that portrays losing sight of America, as well as our attempt to fall back in love with it. For me, this work defined my equation.
When I saw the popular musical FELA!, which just closed on Broadway and may embark on an international tour, I had a similar reaction. The musical chronicles the life, songs, and rebellion of the originator of Afrobeat: Nigerien musical impresario Fela Kuti. With a mash-up of Bill T. Jones’ direction and choreography; audience participation that would get every and any crowd on their feet; with a band that I have repeatedly been told “is one of the tightest I’ve seen;” with a story of a man, who employed music as a weapon to inspire peaceful rebellion to incite change in Nigeria, the production also completes this complex equation.
And, I believe Eclipsed by Danai Gurira has the same elements that may lead to solving this math problem. As the dramaturg, I’m afforded an insider’s view. We have a tightly scribed new play by a soon to be leading voice in not only national but international theatre; an exciting, raw, and explosive cast and director; and a story of women who encounter two major civil wars and survive both by multiple tactics and means. I think audiences will be moved, inspired, and learn about a conflict that changed the people and history and ideology of Liberia and its connection to the content of Africa and The United States. It’s a work that in rehearsal inspires the entire team to laugh one minute and cry the next because of its kinesthetic power and the empowerment we have as theatre-makers to humbly relay its subject matter. When you come to see the production, please ask the question, “Why this, why now?” I think you’re going to have many fascinating answers.
