Monday, February 11, 2008

Theater Review: Slaughterhouse 5

By Mark-Brian Sonna of MBS Productions

Risk Theatre Initiative is aptly named. They are known for taking a risk on their productions. Since its inception every project they have chosen has been daring. They definitely don’t play it safe. Their choices for shows flirt with the possibility of flopping, crashing and burning, yet they’ve managed to find themselves constantly delivering strong productions that are provocative, generate discussion, and at times polarize the audience. Some are more successful then others, but you have to give them credit, they live by their name: they take risks. Much of this is to the creative vision of Marianne Galloway who serves as RTI’s Artistic Director. She has many fans, and as anyone with a unique vision, she also has her share of detractors. One thing is for sure, her work is impeccable, and there is no doubt she is a true artist with a strong vision, and has a definite signature to her work.

Slaughterhouse 5 is arguably Kurt Vonnegut’s most famous work. Originally published in 1969, it has gone on to be one of the most widely read books of American Literature of the later half of the 20th century. This book is beloved, but it is also reviled. One cannot read Slaughterhouse 5 and not form a definite opinion about it. To this day it remains controversial, frequently making lists of books that should be banned. Love it or hate it, this book has left an indelible impression on American culture.

It is now 2008, and RTI is presenting Eric Simonson’s stage adaptation of this seminal novel. Mr. Simonson is a director himself having received an Academy Award as well as a Tony nomination for his work. Even though he is not as well known as a writer, he is most capable in this area and shows it in this production. The source material could not be better, and Marianne Galloway is a perfect director for this play. As expected, she has assembled an impeccable cast with the acting chops needed to carry off such difficult material. Galloway’s vision leads her into the costume design, and prop design, and something tells me that even though she isn’t credited as the stunning scenic designer (Clare Devries is credited), and the amazing sound design (by Heath Gage), she must have had a say in these areas; or if she didn’t the team shared a cohesive vision. The entire production is as unified a whole as can be expected.

Before I continue any further I must let the reader know that I have managed to never read a Kurt Vonnegut book. I consider myself well read, but I attempted Breakfast with Champions back in my college days and after three pages I put the book down. I didn’t “get it”; for whatever illogical reason I never attempted to read Vonnegut again. That is until today. And it was because of this play.

I’ve delayed giving my opinion on this play for four paragraphs for a reason. The play, though brilliantly directed, acted, staged, lit, etc. missed something. I sat through the entire 90 minute performance transfixed. I was entertained, never bored, and realized Slaughterhouse 5 must be a great read. The play felt like an attempt to put a great book on the stage. But not having read the book, I kept feeling I was an outsider looking in on something I wasn’t “in” on. It became especially evident when a scene was about to play out and some audience members would chuckle or react knowing what was about to happen. I could sense that they were enjoying the play much more then I was. My theater companion had never read the book either and his reaction was the same. For the life of me I couldn’t understand why some people were laughing.

The story about Billy Pilgrim is truly sad: in a series of disjointed scenes we see his life play out. He was so severely traumatized by the war and in particular the bombing of Dresden where he was being held as a Prisoner of War in a building known as Slaughterhouse Five. He disassociates and believes to be able to travel through time with the blink of an eye. Because of this his entire life plays out simultaneously. Truly sad stuff, yet I knew the book was written as a comedy, a black one. The play didn’t feel funny at all. Yes, the situations were absurd, but not funny. It wasn’t till later on when I went to the bookstore and bought the book and opened it to the first page that I realized what was “missing” from the play: Kurt Vonnegut’s amazing prose.

We have a narrator character in the book and in the play. But whereas the narrator (which is the voice of Kurt Vonnegut) accompanies you through every moment in the entire book, the technical requirement for a play forces him to be silent so that the scenes can be played out. Yes, he does make commentary from time to time, and having now devoured half the book in an hour and a half (the book isn’t very long), I recognize the dialogue frequently being lifted straight out of the page and onto the stage. The play succeeds quite well with this running commentary, but unfortunately, our narrator can’t speak the entire time or it would become a recitation of the book. What Vonnegut does is present us a series of sad scenes with comical commentary creating the dramatic tension of the book. On stage we loose this dramatic tension caused by the comedy in pathos. It also explains why some audience members guffawed at certain scenes. I would too now that I’m reading the book. I could say that if I now saw the play I would enjoy it much more. In fact I would say it’s a very good play. But here’s the Catch-22 -- to use Joseph Heller’s coined phrase-: is this play a very good play because of the book or just an OK play because of the book? Something tells me Vonnegut, if he were alive, would find humor in this unusual predicament I find myself in: Should I, or should I not recommend the stage version of Slaughterhouse 5? Can I possibly say ‘go see it’ and ‘skip it’ and mean both? I suddenly find myself like Billy Pilgrim, the main character, experiencing two realities simultaneously.

So I will leave it up to you, dear readers. If you love the book you might go and love the show because you love the book, or you might dislike it since you can’t experience Vonnegut’s prose. If you are unfamiliar with the book you might go and love it because it’s such a well done show, or you might dislike it because you’ll feel left out. One thing I can say for sure: You will not leave the theatre without having had an interesting and memorable experience.

Oh, and for all it’s worth, from what I’ve read of Slaughterhouse 5, I can definitely say this is one of the best novels I’ve ever read. My apologies, Mr. Vonnegut, for having given up on you so long ago.

Purchase tickets online or by calling 214-823-RISK.

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