Anthony R. Miller checks in to see if he can just turn off his brain and like the dang show.
Hey you guys, so we all know SF is a liberal place, we just had an election where the Democratic mayor did not have a conservative opponent, just more liberal ones. We have naked parades and theatre companies whose ideals and personal politics play a big role in programming. Now, I consider myself a pretty progressive fella, but still a beneficiary of white male privilege. And lately there were some moment where I found myself almost in conflict with my personal politics and my ability to just enjoy the show I was watching. Naturally, I have some thoughts on it, and wouldn’t you know it, there are five.
Dare to Be Traditional
Last Friday, I attended the opening night for How to Succeed in Business Without Really Trying. It was the inaugural production of SF’s newest company, Bay Area Musicals. Without doing anything resembling a review, what really stuck with me was how daring it all felt. I don’t mean it was daring because it applied some greater concept and turned the show on its head to make a stunning new interpretation, I mean the exact opposite. Here we are in SF, a city at war with itself and the looming shadow of large tech companies and corporate culture, and they put on a show about a guy who basically schemes his way to the top and relies on the privilege granted by the corporate patriarchy to get away with all of it. Let’s get something straight, I’m a fan of the show. It’s funny, the music is great, and it’s entertaining and nothing but. But man, is it dated. The female lead aspires to marry up, the boss is cheating on his wife and it’s basically fine, everybody hits on their secretary, and in the end when our hero is seemingly doomed, he simply relies on the notion of “Hey, c’mon, we’re all bros here.” So to put this show on in SF in 2015 felt daring. Because while the play is a fun satire of corporate culture in the early ’60s, it’s a fairly forgiving one. So in light of that, you would think in SF the play would be given some kind of political facelift, some kind of new angle that shows us why the play is still relevant. Nope, they just did the show exactly how it’s always been done; it was big, fun and unapologetic. It had a punk-rock-like defiance. In the cradle of liberalism and progressive politics and artists who strive to make theatre that has its own identity and relevance, they said “fuck it.” Here I was watching a traditional musical comedy performed as it was traditionally intended and apologized for none of it, and that felt non-traditional. To not re-invent the show, felt inventive. Now to be fair, BAM’s season also includes Hair and La Cage Aux Folles which are liberal as fuck, so it all balances out. Where the culture of SF did really sink in, was the exciting diversity of the casting, actors of all sizes and color were used in a show that traditionally would have white people with perfect bodies. Oh, and I really enjoyed it.
Art vs. the Artist
This one is a cheat, but go with me. I’ve been a longtime fan of the band Eagles of Death Metal, the band that was playing in Paris the night of the horrific attacks. With all the newfound attention on them, a dirty little secret (unless you’re an obsessed fan like me who reads everything about them) is that the lead singer is super conservative, like Trump-supporting. Here’s the problem, the band kicks ass, they’re fun, riffy, boogie-down rock and roll. There is no agenda in the music, just a rockin’ beat. So I ask myself, “Can I still like this band when the lead singer holds views I find abhorrent?” It is the notion of choosing the Art over the Artist, does the artist need to be a good person who is in compliance with my politics to create art I can enjoy? If the art has nothing to do with the artist’s political views, am I still allowed to like it? Does the artist need to comply with my personal politics in order for me to like their art?
Ok, this one is a non-sequitur, but hey it’s for a good cause. Apparently we have a name for the 5 days after Thanksgiving, so after Black Friday, Small Business Saturday, and Cyber Monday, today is Giving Tuesday. Today we can put aside our frothy-mouthed consumerism and give our money to some great causes, and Bay Area Theatre has lots of them. Here’s a few suggestions, SF Sketch Troupe Killing My Lobster, who had an amazing 2015 and are doing some great educational partnerships. SF’s Ray of Light Theatre has begun its Illumination Campaign (speaking of musicals in SF) and the Diablo Regional Art Association, who are giving free theatre tickets to kids. Custom Made Theatre Company, who just moved to a much larger space, is recovering from a robbery, and is one of the Bay Area’s fastest growing companies, is also doing a drive, and will be launching a New Works Development program next year, amongst other exciting changes.
Feeling Bad for Laughing
I’ve been lucky enough to attend several productions that are part of the Curran: Under Construction series at the under-renovation Curran Theatre. It’s pretty awesome; the shows are performed with the audience onstage to create exciting, intimate and interesting new shows. I recently saw Steve Cuiffo is Lenny Bruce, a one-man note-for-note reenactment of the work of Lenny Bruce. And while the guy was incredible and I laughed a great deal, there were uncomfortable moments. There is a whole bit laden with racial epithets, a bit that uses lots of colorful language for homosexuals, and while Bruce’s work was daring, controversial and a brilliant examination of what we find offensive and why, I couldn’t help but feel uncomfortable at times. And I’m not here to say whether or not it’s OK to reenact this material, personally I enjoyed it for what it was, but MAN I couldn’t help but think that Lenny Bruce would be savaged for his work these days.
The Whyness of it All
A big question we like to ask ourselves in seeing theatre is “Why this show?” Why does it exist? Why is it being performed? Why am I watching it? When I think about all these things, I wonder about the conflict of theatre that exists just to entertain and theatre that is trying to say something. Is one more valid than the other? Is being entertaining enough? I would say yes, escapism is just as important as work that is critical of the world around us. Is it OK to like work that hasn’t kept up with our own progressive attitudes? Am I a bad liberal for appreciating Lenny Bruce or philandering bosses or music written by people I probably would dislike in person? Is it OK to not worry sometimes and just enjoy myself? That’s a lot of questions, and I don’t really have the answers, but if there is one thing that makes me think these plays are still important is that even though I enjoyed myself, I’m also asking myself all these questions. Which may be exactly why they’re important.
Anthony R. Miller is a writer and producer, and enjoys laughing as much as he enjoys thinking. Keep up with him at www.awesometheatre.org