Project 3 - Producing the Play

The script poses no real threat to understanding, to grasping the idea of the play. The biggest threat implemented by the language of the piece is the loftiness of the speeches of Lena Younger. As many of the reviews and critiques might state, the matriarch’s vocabulary is lifted to a state of seemingly holier-than-thou tongues. This must be combated with the direction and ability for the actress who has this amazing role to bring the speeches to a level that associates the language with the ‘everyman,’ the ‘Walters’ of the world. It would not take much for someone to get lost in the magniloquent, rapturous speeches. Another problem that a production may fall prey to, is a colloquialistic speech patterns present in this society, at this time. A director may choose to do some form of speech pattern to increase interest by patrons, however they must walk a fine line between an audience being interested, and an audience getting lost.

Problems posed uniquely by a proposed UTC Main Season production would be an obvious one of cast. While this campus, and this program, have a certain level of racial diversity; would we have enough people to fill a cast of characters – the Younger family, Lena, Ruth, Walter, Beneatha, and Travis; Joseph Asagai; George Murchison; Bobo; Willy Harris; and Mrs. Johnson are all characters who, scriptually, must be African American. Mr. Karl Linder is the only Caucasian character present in the entire three-act show. Our season, in my opinion, could not boast of the feat of having a cast readily available for this task. That’s not to say we don’t have many talented African American individuals that can clearly perform this script; we just wouldn’t have the proper number to even begin to take on such an overwhelming endeavor. I would love to see what an SHSU Main Season production could create with this wonderfully written and poignant script, we just don’t have the complete and proper resources to do so.

As far as race, clearly other productions have a wider selection base than the 300 Theatre Majors here at Sam Houston State University. Consequently, it is easier to cast this show in a much broader setting. However, that is not to say that a simple community theatre would be able to drive this vehicle either, because they also, generally, have the same problem. In regards to the language, many productions seem to skim over the idea that the speeches become reverent, and over-bearing. Many productions skim over the top of the increased magniloquence. This is not say that audiences don’t relate to it, however, it must be maneuvered so it doesn’t belittle Walter, and the audiences loses their faith in the power of devotion Lena sustains.

Many critics have discussed how Lena rants and scolds her son. One said that the audience is forced emotionally and told exactly how to react to the situations. They clearly see the overwhelming indignation of her speech. So, one must look at this and not try to glaze over the fact that these speeches are often lofty, grandiose, and something to be on the look out for; you must take care and nurture them to produce the intent. Everything is written down, the words do their job, and we must cleverly draw back so the audience, the spectator, does not get too lost in the maze of verbose ideas and heightened statements.