NYTimes.com: There they go again, stealing the spotlight from their cowed and embittered progeny, the unforgivable but unforgettable monsters Mom and Dad. These Freudian demons have been showing up all over the place for ages, in recurring nightmares, best-selling memoirs and novels and, perhaps most deliciously, on the stage.
Friday, October 14, 2011
Don't Worry About Me ... but Get Out of My Spotlight
NYTimes.com: There they go again, stealing the spotlight from their cowed and embittered progeny, the unforgivable but unforgettable monsters Mom and Dad. These Freudian demons have been showing up all over the place for ages, in recurring nightmares, best-selling memoirs and novels and, perhaps most deliciously, on the stage.
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This article is particularly interesting because, it is so true. I think that one of the reasons that these characters endure so well is that most of the people watching these shows, are reminded of someone in their life, or at least have some recollection of feeling the way that these 'parents' make their progeny feel. Inept, frustrated, guilty, annoyed, put upon etc. Its also interesting because many of these characters capture the the certain desperation or drive that these parents have to want to be noticed as well, not to be snuffed out, or to just finally have their turn. It is also great that the actors they reference in the article are so talented and obscenely commanding on the stage. Especially because at this point in their career they have enough acting and life experience to really put reality into their performance. To answer the question at the end, I can really only think of the wonderfully overbearing mother in Bye Bye Birdie.
I love how this article focuses on the characters of particular shows, something articles so rarely focus on. It is even rarer to see an article comparing roles from two different shows. I really like the point that is being made about these characters showing up on stage. One of the reasons why these characters are so great for the stage is that so many people can understand that sort of situation, and of course these huge characters read great on the stage! I too thought of Rose in Gypsy when they mentioned the overbearing mother in a show.
From the moment Mama Mae Peterson screamed "ALBERT!!!!", I knew and understood the role of what it means to be "the mother". I think that it was the first moment actually, that I learned what to expect from the parental roles. I continued on to see Gypsy, read Death of a Salesman, so when reading this article, I understood the point exactly. They appear to be demon parents, they are added to the play to balance out the protagonist. What is interesting is that they always seem to have good intentions. Sometimes their comedic input shields the audience from their true nature. These parents aren't necessarily bad but they end up being a little selfish and in making their children live their dreams, turn them into all kinds of questionable corners. To be honest, it is the most interesting part of the show. At one point or another, it is completely relatable for the audience to see something like this. Parents, guardians, even role models can slip into the in-between and steer someone in the wrong direction, drastically or subtly. These characters are one-hundred percent valuable in shows and life. I think that they are the game changers and the twists.
I agree with the other commenters in that I think that what makes the mother character such a presence in so many plays is that they are usually in some way relatable, no matter how over the top they are. There is someone in most people's life that this character brings back memories of or reminds them of, whether that is their own parents or someone else who they've observed. I think that a big part of it is that in my limited experience, the children often think that the parents are using them to either relive something or fulfill something they weren't able to, whether that is actually the case or not. Having worked on Glass Menagerie this past summer, Amanda is the first character that came to mind, but there are so many others that make these characters a huge part of the theatrical world.
Parents, and mothers in particular, have a fascination that endures centuries. From "Medea" to the reality show "Dance Moms" their is always something captivating about watching mothers and the decisions they make about child rearing. It has to do with the fact that everyone's opinions are so varied and yet so strong. People watch the same actions and can view them incredibly differently. Most people have very strong beliefs about what is right for children and what makes a "good" or "bad" parent. It is interesting to notice that almost all the "bad" mother characters I can think of, whether real or imaginary, think that they are doing the very best for their children, even when they are dead wrong. And the most devastating blow to them is when they realize how wrong they are, if they realize at all. This is true for real life as well as stage and I think that is why people find these stories so fascinating. We all know someone who we feel was ruining the life or happiness of their child, but feel they can't say anything. After all it's not your child, and not your place to say. This is why people keep writing this kind of theater because it is a way for them to say the things they felt they couldn't in the real world about their own parents or ones they observed.
I will always find the "monster parent" characters in theatre, literature, film, television, etc. to be among the most interesting. Not only do they destroy the lives of those around them, but they destroy themselves as well.
I am so glad that these characters are coming back to the forefront of theatre. The reason that these characters are so interesting are because they are oftentimes so real. The "monster mother" character is real. I'm sure almost everyone can think of someone who is like that. The "goal obsessed person" who will do whatever it takes to get what they want is real.
Not only do these characters set off almost every conflict in the play for the rest of the characters, they also torment and neglect the conflicts of which they are imposing on themselves. The development and deterioration of these types of characters is fantastic.
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