I don’t enjoy offending people. Honestly I don’t. The graphic to the right, I've been told, is borrowed from boy's lacrosse. It's a signal that relates to "offensive screening." It was mailed to me by an audience member who wanted to remind me that what I do is potentially offensive.I value this signal. I also increasingly buy into that old saw that says if you’re not making somebody mad, you must not be doing it right.
Offending someone is, of course, not the same thing as boring someone. Two of my favorite productions at Barksdale (The Crucible by Arthur Miller and The Lark by Jean Anouilh, adapted by Lillian Hellman) bored some members of our audience. I directed both productions.
Both plays relate to history (the Salem witch trials and the McCarthy era in the case of The Crucible, the Joan of Arc story and the McCarthy era in the case of The Lark). Both plays are politicized (we’re talking Arthur Miller and Lillian Hellman after all). Both plays are narrative and language-heavy, written by playwrights who thrive on polemics, unapologetically requiring audience members to care about the issues the playwrights care about. Both plays are long by 21st century standards—The Coast of Utopia notwithstanding.
I love(d) both plays and both productions. And I know lots of other people who do (did) too. But on different nights during the runs of both shows I found myself sitting next to John Q Public audience members who fell asleep about ten minutes into Act I, clearly bored out of their minds.Offending someone is, of course, not the same thing as confusing someone. The Lark confused some people in addition to boring them—two, two, two mints in one. Two other personal favorites at Barksdale (James Joyce’s The Dead, written by Richard Nelson with
music by Shaun Davey, and The Member of the Wedding by Carson McCullers) confused some members of our audience as well. The remarkably talented Steve Perigard and Scott Wichmann (does Richmond know how lucky it is to have these guys?), respectively, directed those two productions. They directed them beautifully.
The Lark is character and theme-driven; The Dead and The Member are both character and language-driven. Unlike most dramatic literature, these three plays are not particularly plot-driven. Take away a strong linear plot, and some people feel lost. “What the hell was that all about?” was a question I heard more than once after each of these three shows.To me, these plays were “about” a hundred things, and I felt emotionally richer for having seen them. Again, I know lots of other people who also loved these productions.
Offending someone can be the same thing as challenging someone. Personally, I like my beliefs, feelings and thoughts to be challenged. More to the point, I need my deeply held convictions to be challenged. Unless and until they are tested, how do I know what I really value and hold dear?
But many people have different brain chemistry, I know. The minute you challenge one of their beliefs, they perceive you are heaping contempt on their innermost selves. This is never our intention. Nonetheless, they are offended.
There are scores of ways to offend audience members, but over the years it seems to me that we’ve offended people in three main arenas: language, race and sex. What different people find to be offensive interests me. And since this season seems to be offending its fair share, and, come Little Dog Laughed, promises to offend lots more, I figure now’s a good time to discuss these issues.Part of the value of this discussion will be to organize and clarify my own thoughts. An equally important part will be to ask for and welcome your opinions.
So plug in your offendometers (I pronounce it with the emphasis on the third syllable) and get ready to rumble. Coming soon – language!
--Bruce Miller
