HowlRound Theatre Commons: Playwright and theatremaker Will Arbery seemed to burst onto the theatre scene out of nowhere last year when his panic-laden, melancholy, and surprising dramedy about three sisters, Plano, was seen first in New York City as a ClubbedThumb production before transferring to the Connelly Theater. Garnering critical praise and audience and industry buzz, the play had a devoted following that whetted appetite for more of his work on stage. So, when Heroes of the Fourth Turning was announced as the opening slot of Playwrights Horizons’ season line-up, there was much anticipation in the industry about what Arbery had up his sleeve this time.
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This article really launches into an in-depth discussion about the current world of theatrical entertainment and what we are expecting and needing from the pieces we are watching and creating. What I think is really compelling about what this author is doing is his awareness of the fact that a light in the end of the tunnel or a supposed happy ending might be what we think we want in these trying times but it is not what we need or what comes off as real. As someone who loves to see theatrical glass be a looking glass into our society (in whatever form traditional or non traditional) I can really appreciate his work in looking at any sort of hope coming in weird and unfinished uncertain term because that does feel like our world for me. I was also impressed by the author’s insightfulness of his own position of here he was writing from and the strengthens and weaknesses he possesses in doing so. I find myself drawn to a lot of the deeper contemplation of the greater meaning of what we are putting on the stage to progress the industry and what we’re putting before people to take home with them after they watch a performance and in his method it seems there’s a level of flexibility and uncertainty and I think that isn’t a bad thing.
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