(Maya Phillips’s article appeared in The New York Times, 11/25; Photo: The ultimate hellish family gathering: Dinner with the Westons in Tracy Letts’s “August: Osage County.”Credit…Sara Krulwich/The New York Times.)
With fewer guests at the table this Thanksgiving, theatrical reminders that food, drink and reminiscence can unsettle as well as comfort.
The stage loves a dining room table. This single piece of furniture represents sustenance and communion, and domestic dramas set at the table are — pun very much intended — the bread and butter of theater.
But for all the ways family plays reveal truths, trauma and traditions, they take on greater weight as I think about them this Thanksgiving, during a pandemic demanding all of us to figure out whether we can safely see our loved ones, and if so, how.
That’s not to say that family get-togethers onstage tend to go well. Tracy Letts’s Pulitzer Prize-winning “August: Osage County” is the contemporary standard-bearer for all hostile family dramas. We join the Westons, a trash fire of a family racked with bitterness, guilt and resentment, in their Oklahoma home on the occasion of the absence, then death, of the patriarch, Beverly Weston.
Fed up with the family’s cruelty, Ivy, the middle daughter, declares to her elder sister: “I can’t perpetuate these myths of family or sisterhood anymore. We’re all just people, some of us accidentally connected by genetics, a random selection of cells. Nothing more.”
Not exactly an episode of “Full House.” But she (and the play) are right that the myth of family often wilts before the real deal. The Westons twist their intimate knowledge of one another to degrade, intimidate and manipulate. Be careful what you’re wishing for this holiday season: “August: Osage County” shows us that a family around a dinner table can be a battlefield — but here the wounds are personal.
The same is true of Stephen Karam’s fantastically brutal (and simply fantastic) “The Humans,” in which the Blake family, natives of Scranton, Pa., convene at the Manhattan duplex apartment of their younger daughter Brigid and her boyfriend Richard. Erik, Brigid’s father, is remote, supposedly because he hasn’t been sleeping well, and her mother, Deirdre, tries to connect with her daughters but is often dismissed. Amy, the older daughter, is ill. And Momo, Erik’s aged mother, is barely lucid.