That was certainly an unusual play last night! The first one, in particular, baffled me. During the intermission I Googled it to see what I could find out, and not only is there a handy-dandy Wikipedia article about it, but this review from The New York Times that I found very interesting and helpful in understanding what was going on.
You probably remember the sound from your childhood. It’s the soothing, singsong voice of an adult who is telling you, in the middle of a dark night, that there is nothing to be scared of. And as much you would like to believe that voice, you know, with a certainty that rests in the pit of your stomach, that you are being lied to. And that the person who is reassuring you is just as scared as you are. Such terrors of early youth ripple quietly and relentlessly through the first scene of ”Far Away,” the ravishing, deeply disturbing play from Caryl Churchill that opened last night at the New York Theater Workshop. This latest offering from the author of ”Top Girls” and ”Cloud Nine” disquietingly insists that your childhood instincts were dead right, that nightmares do not stop when sleep ends.
For New Yorkers living in the elongated shadow of Sept. 11, the waking dreamscape of ”Far Away,” where the promise of violence broods in even the coziest corners, is bound to feel familiar. Ms. Churchill envisions a world in which nothing, but nothing, is to be trusted.
“Nothing” including insects, laws of physics, inanimate objects, even a stream – whose side is this water on? During the “talk back” I asked what that play was all about, and the actors said “war” – but I think in a broader sense it’s about fear and paranoia and how those emotions are put into play in a time of conflict to make us try to identify one group as the reason for our fear, so a group we should hate or destroy.
(Final paper topic, free to a good home: in what ways do the books we’re reading manipulate our anxiety, and how is that anxiety defined as a particular group or a type of person we can safely identify and tag as a “bad guy”? How do mysteries use our anxiety to drive a story and then make it all safe in the end because the “bad guy” is stopped? Does it ever run the risk of unfairly tapping into prejudice against a group of people?)
The second pair of plays was also thought-provoking. I expected a much more polarized pair of plays, one that would be pro-Palestine, the other pro-Israeli. And they could have been performed that way, but instead these actors looked for ways in which the short plays could show various approaches to each perspective. In some ways that made it more confusing – they didn’t clash with each other as I was expecting. They were quite similar in the way each group of people was within their own circle in conflict about how to explain war and a long history of anger and pain to a child.
I mentioned to someone after the play that I read a mystery set in the occupied territories, The Collaborator of Bethlehem by Matt Beynon Rees. I didn’t make it one of our assigned books, but I considered it because it really influenced the way I think about what’s happening in Israel and the occupied territories. It took something complicated and made it much more complicated – but somehow human because I could identify with the characters in the book and understood better what it was like to live in fear and to be unable to move freely around – stuff I know, but hadn’t really known on a personal, daily life level. The author, as it happens, was a journalist, the Jerusalem bureau chief for Time Magazine. He got sick of trying to report what was happening there in short news bites and decided to write mysteries instead because they could go more deeply into the reasons why the conflict exists.
(Final paper topic, free to good home: How can fiction, make-believe stories meant to entertain, teach us something about the real world? How can literature probe a topic more deeply than a non-fiction treatment of the issue?)



