#101
Posted: 7/4/18 at 10:05pm
Warning: Long review ahead. TLDR: Didn't like it at first, thought more about it, appreciated it more. Still some issues with the framing devices of the play, but can see that the play is already achieving what it set out to do (even if what exactly is being communicated isn't clear).
I saw this Sunday evening. During the play, and right after seeing it, I really wasn't enjoying it too much/at all. There were funny moments, and I thought the acting from Josh and Armie was great, but the whole "meaning" of the play was completely lost to me. I thought it should have been either more subversive and really tackle the subjects of privilege, race and society in the ambitious manner that the playwright set up the play to be, or lose the subversive elements and leave it as the pseudo family drama the bulk of the play was. It sat right in the middle of those two ethoses, and I felt at the time brought nothing to the table because of it. The whole play felt disjointed to me, between the "subversive" scenes with the Persons in Control (and the music in the beginning, which I was really enjoying. I don't get how it tied in with the play beyond "making the normal audience at Broadway feel uncomfortable" as stated in the beginning, but more on that later), the very playful and over-the-top moments with the brothers feeling like a cheesy sitcom, and then suddenly being hit over the head with the serious and blatant discussions of privilege and success. I wanted something thought-provoking, and instead spent a lot of the time watching 3 brothers goofing off for extended periods of time. Why? Was I just not getting it? What is being communicated here?
However, after ruminating for some time and reading more about the playwright's intentions, I'm coming around to appreciating it bit more. It will surely be a conversation starter, and did treat all the subjects fairly without the bias one *might* expect with a title like 'Straight White Men'. The fact that people are uncomfortable/angry (on this thread nonetheless) is ironic, as its perfectly inline with what the Persons in Control say the very purpose of the play framing device is. My favorite bit is that she does play with our expectations a lot--with the production itself, how we respond to the characters, etc--which is something we just don't get in the theater enough and something we all need. Subversion doesn't have to be overt or explicit, and I think the playwright achieved that for the most part. I applaud her for not taking "the easy route" in exploring this subject (i.e. giving into stereotypes of straight white men). The set itself fit the purpose and perhaps made some of her intentions a bit more clear (literally, as a picture frame), but is nothing to write home about.
I still do wish the Persons in Control and those elements of the play were better bound to the overarching narrative and structure of the play. No matter how much I think about the purpose of the play, I cannot get past the disjointed nature of the production as is. It doesn't necessarily need to be more subversive like I originally may have thought, but perhaps more carefully integrated to bolster the dismantling of complacency the playwright is seems to be going for--otherwise, I feel like the value of the play will be lost on most viewers. I don't quite understand why the playwright was so subtle about some things (like the role of the Persons in Control, which I wouldn't even understand if not reading the playwright's notes posted here), and yet so overt about other things like (no spoilers) each brother's perspective on why one brother is acting the way he is (their arguments come across with court room style bluntness, lacking any kind of conversational naturalism). And still--why so many scenes of brotherly playfulness?
I think it is worth seeing, but coming in with a very open mind and reading carefully about the playwright's intentions will help any viewer a lot. Major congrats to Young Jean Lee though on the production, and wishing a lot of success for the play. I guess it's only fair too to disclose that I am a straight white man critiquing this, and do not think AT ALL that this play is trying to be divisive or unfairly critical, so get over it to the people complaining!
I saw this Sunday evening. During the play, and right after seeing it, I really wasn't enjoying it too much/at all. There were funny moments, and I thought the acting from Josh and Armie was great, but the whole "meaning" of the play was completely lost to me. I thought it should have been either more subversive and really tackle the subjects of privilege, race and society in the ambitious manner that the playwright set up the play to be, or lose the subversive elements and leave it as the pseudo family drama the bulk of the play was. It sat right in the middle of those two ethoses, and I felt at the time brought nothing to the table because of it. The whole play felt disjointed to me, between the "subversive" scenes with the Persons in Control (and the music in the beginning, which I was really enjoying. I don't get how it tied in with the play beyond "making the normal audience at Broadway feel uncomfortable" as stated in the beginning, but more on that later), the very playful and over-the-top moments with the brothers feeling like a cheesy sitcom, and then suddenly being hit over the head with the serious and blatant discussions of privilege and success. I wanted something thought-provoking, and instead spent a lot of the time watching 3 brothers goofing off for extended periods of time. Why? Was I just not getting it? What is being communicated here?
However, after ruminating for some time and reading more about the playwright's intentions, I'm coming around to appreciating it bit more. It will surely be a conversation starter, and did treat all the subjects fairly without the bias one *might* expect with a title like 'Straight White Men'. The fact that people are uncomfortable/angry (on this thread nonetheless) is ironic, as its perfectly inline with what the Persons in Control say the very purpose of the play framing device is. My favorite bit is that she does play with our expectations a lot--with the production itself, how we respond to the characters, etc--which is something we just don't get in the theater enough and something we all need. Subversion doesn't have to be overt or explicit, and I think the playwright achieved that for the most part. I applaud her for not taking "the easy route" in exploring this subject (i.e. giving into stereotypes of straight white men). The set itself fit the purpose and perhaps made some of her intentions a bit more clear (literally, as a picture frame), but is nothing to write home about.
I still do wish the Persons in Control and those elements of the play were better bound to the overarching narrative and structure of the play. No matter how much I think about the purpose of the play, I cannot get past the disjointed nature of the production as is. It doesn't necessarily need to be more subversive like I originally may have thought, but perhaps more carefully integrated to bolster the dismantling of complacency the playwright is seems to be going for--otherwise, I feel like the value of the play will be lost on most viewers. I don't quite understand why the playwright was so subtle about some things (like the role of the Persons in Control, which I wouldn't even understand if not reading the playwright's notes posted here), and yet so overt about other things like (no spoilers) each brother's perspective on why one brother is acting the way he is (their arguments come across with court room style bluntness, lacking any kind of conversational naturalism). And still--why so many scenes of brotherly playfulness?
I think it is worth seeing, but coming in with a very open mind and reading carefully about the playwright's intentions will help any viewer a lot. Major congrats to Young Jean Lee though on the production, and wishing a lot of success for the play. I guess it's only fair too to disclose that I am a straight white man critiquing this, and do not think AT ALL that this play is trying to be divisive or unfairly critical, so get over it to the people complaining!