AMERICAN THEATRE: When I edited theatre reviews at Back Stage West in the fall of 2001—i.e., in the immediate aftermath of 9/11—it seemed that, no matter the show they were covering, critics would either say something like, “This frothy laugh riot is exactly the kind of thing we need right now to take our minds off the state of the world,” or, on the other hand, “This hard-hitting drama is exactly the kind of gritty challenge we go to the theatre for in times of trouble.”
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All these different plays with vastly different themes shows the dual nature of theatre. Some people flock to it because they want to escape from the difficult situations of their day-to-day lives, while others are drawn to it to make very real points about the world around us, even when this is at times uncomfortable. This is the logic behind the movement of theatre for social change. One of the best plays I’ve ever seen, Prima Facie, a one-woman show, is almost horrific to sit through in its graphic and serious depictions of sexual assault – but that is what makes it such a powerful and engaging piece; it forces you to understand, which is of course the central goal of theatre: to open minds up to understanding. However, making people laugh and enjoy beautiful stories is equally important. I think these two purposes need to coexist in order to create art; one style is not better than the other, they are just different techniques and approaches. The comedy and the tragedy. Like the article says, this is especially true in times of widespread social trauma, like the COVID-19 pandemic. Both of these styles of theatre have a place in bringing comfort and spreading change.
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