By Bob Shuman
Theatregoers may be wondering whether La MaMa follows the news or whether the news is, in fact, following La MaMa—a paranoid insight pertinent to its two current productions, running until January 21, both part of the Public’s Under the Radar Festival. Downstairs, because of the comprehensiveness of its creators’ theatrical and artistic understanding, Panorama, in which its cast is told not to “act,” transcends being sensitivity training on the immigrant crisis (read this author’s review of that show). Upstairs, in the Ellen Stewart Theatre, Split Britches (Lois Weaver and Peggy Shaw), popular downtown (and international) feminist/lesbian artists, detonate unexplored desire, H-bombs and communal anxiety in Unexploded Ordnances (UXO), a Dr. Strangelove-inspired end-of the-world scenario—this article is being written a day after mass panic in Hawaii, when the state was put on a ballistic missile alert, by mistake.
In addition to showing prescience, the Split Britches play lets viewers consider forum theatre, a style, theorized and employed by Augusto Boal, which allows spectators (in this case older audience members, who are brought to glowing tables of a Pentagon-like war room) to participate in the themes and questions posed by the play. The creators also relate that the gathering follows the meeting example of Lenni Lenape and Canarsie Native-American leaders–other peripheral observers are invited to actively engage in the content, too, permitting the work to be composed of what’s in the air and who’s in the room—an “elder” giving a one-night-only, dead-on imitation of Eleanor Roosevelt, for example.
Every evening can provide such an anomaly—in fact, performances have the potential to be very different from each other. Split Britches, however, is probably too uniform in its audience demographic to make Unexploded Ordnances (OXO) into an evening of scintillating debate—one unsatisfying answer to what needs to be done, given the world’s current state of affairs (from the old lefties in the East Village, the bleeding hearts who are willing to actually bleed), is “end capitalism” and replace with “Marxism.” Nevertheless, the most surprising takeaway, in entertaining the question, “How do we change?,” which is asked during the play, is the degree to which the audience can veer into the self-lacerating. “It’s too late,” comes one reply, explained as the result of too much guilty consumption, addiction, and ease. Protests are needed, is seen as a solution, or a strike against the government, and the complete breakdown of the rule of law. Then, a reality: “I’m too tired to strike.”
Ordnances, weapons such as cannons, grenades and military materiel, is apt as part of the show’s title and its overriding metaphor, because the creators want to emphasize what can be buried inside and exploded—personally and politically. The signature Split Britches routine, along with a fascination regarding finishing sentences, has, traditionally, been women-loving-women tripping up into the flirty awkwardness and Freudian slips of falling in love. By extension, they are now playing generals and presidents who can flub into destroying the planet, even as the audience has the potential to be more interesting than the broad, satiric characters being portrayed (in a necessarily broad outline for a show).
Weaver, Shaw, and Hannah Maxwell, the writers, might actually miss, and endorse the ways of a sinning, older America, a point made in the title of their 2008 show, Miss America. You can feel this in Unexploded Ordnances (OXO), as well, when a popular song, by the Dominoes, is played and snippets of the Cold War drive-in movie, Dr. Strangelove are shown. Whatever the case, whether the audience gives thoughtful or knee-jerk reactions to current social considerations, the chance to engage with and contemplate community issues and action is rewarding: Someone has to be thinking about whose finger is on the button.
© 2018 by Bob Shuman. All rights reserved. Photos (top to bottom): Theo Cote; Roosevelt, History.com; Matt Delbridge; Matt Delbridge (Peggy Shaw)
Unexploded Ordnances (UXO)
Written by Peggy Shaw, Lois Weaver, and Hannah Maxwell
Performed by Peggy Shaw and Lois Weaver
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