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JUMP TO THIS MONTH'S ARCHIVE CHOICE: Schwellenangst by Colin Ellwood

Delillo Delight

17/3/2021

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Picture
February 26th. Present (row-by-row from top left) Kevin McMonagle; Colin Ellwood; David Whitworth; John Chancer; Susan Raasay; Sakuntala Ramanee; Simon Usher; Julia Winwood; Valerie Gogan (not pictured)

  • The Day Room by Don Delillo

A wonderful, deadpan subversive souffle of a play. Set in a NY hospital in which the nervous middle-aged and un-talkative Wyatt is newly arrived sharing a private room with the gregarious Budge. Wave upon wave of unexpected visitors from elsewhere in the institution – supposedly doctors, seriously ill patients - turn out to be ‘performing’ or delusional patients from the adjacent psychiatric wing. All this slowly undermine the sense of security – even the sense of underlying reality - of Budge and Wyatt, if indeed Budge and Wyatt are Budge and Wyatt.  Act 2 reveals the engine room of the vertiginous deception. Actors playing lunatics, lunatics playing actors, or lunatics playing actors playing lunatics? A play that forensically disassembles apparent reality to reveal acting and its cognate performance form, madness, underneath.  Underneath the apparently absurdity a gradually-revealed swiss-watch realist mechanism driving the apparent quantum warpedness.  It's also full of vivid and wry characters, and of such characters playing such characters. And for an early 80s piece it impressively manages to be wonderfully evocative of millennial immersive and situationist theatre, while also satirising a certain type of very 21st Century jet-set theatre-festival-groupie, determined to track down the latest elusive hot ticket. DeLillo is clearly even more than a great novelist. On the basis of this and of his later play we read in Holborn last year – Valporiso – he is also a major playwright. As with the novels, this play both celebrates and subverts the artificiality and insubstantiality of modern life. The dialogue has a wonderful deadpan relish. Its ultimate ‘trick’ of deadpan serial and multiple un-maskings, in which each subsequent layer is presented as reality only to be then revealed as just another performance, is oddly reminiscent both in tone and technique of late-stage Ben Johnson, in his The New End for example.  In terms of the theatricality and role playing you could also mention Pirandello of course. 

So it looks like an absurdist play until you work out the intricacies of the situational mechanism.  And then it offers the satisfaction of it all fitting together. In a way it's a bit like Chesterton's The Man Who Was Thursday, where everyone in the anarchist cell turns out to be a 'plant', so the spies are all from the same side and basically spying on each other. But with the Delillo the actors and the medics are all psychiatric patients...or the medics and the patients are all actors in the same troupe. The 'mark' Wyatt turns out to be the maddest of them all, giving in Act 2 his 'performance' as the Robin Williams-esque channel-hopping tv.  A single nurse, sneaking in to 'moonlight' in the theatricals in the psychiatric patients' day room, is one genuine refugee from the supposedly 'sane' clinical world.  The guy who seems unexpectedly spooked at the end of Act 1 - Budge - turns out to be (or seem to be) troupe leader Arno himself...or has taken that name (the honorary 'name'  of the psychiatric ward, as well as the titular head of the theatre company...or both, or neither...). I suspect a performance would work with a kind of slightly ritualised, on-rails deadpan delivery, slightly farce-like...(with Wyatt as the Gene wilder character from The Producers and Budge/Arno as Zero Mostel.....):  it's clearly not the first night of the Arno Klein after-dark production in and beyond the dayroom. They are a well-oiled machine, both in their 'doctors and nurses' schtick from Act 1 and their 'grifters' turn in Act 2. I think they do it nightly...a sop to a pretty intense narcissism, perhaps? After all in Act 2 they are fantasising their own elusive 'must see' celebrity status as the Arno Klein troupe....pursued around the world....

 A great discovery, and read here with aplomb



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    ​INDEX of dates:​​
    • WINTER 2021
    • AUTUMN 2020
    • ​SUMMER 2020​
    • SPRING 2020​
    • SPRING 2019
    • SUMMER-AUTUMN 2017
    • AUTUMN 2016-WINTER 2017​
    • WINTER 2015-SPRING 2016
    • SUMMER 2015
    • WINTER-SPRING 2015​
    • AUTUMN 2014
    • ​SPRING-SUMMER 2014​
    ​INDEX of playwrights and plays:
    • Maxwell Anderson: Key Largo
    • Aleksandr Blok: ​The Stranger
    • Edward Bond: Lear
    • ​Dietrich Bonhoeffer: Dramatic Scenes
    • Oystein Brager: ​Cloud Yellow
    • Fredrik Brattberg: ​The Returnings
    • Bertold Brecht: ​Schweyk in the Second World War
    • Helen Budge: ​Grey Collar
    • Joseph Chaikin: ​When the World was Good
    • John Chancer
    • Kia Corthon: ​7/11
    • Noel Coward: Star Chamber
    • ​Don DeLillo: The Day Room
    • Per Olov Enquist
    • Regine Folkman Rosness: ​Exposed
    • Jon Fosse: ​Freedom
    • Julia Gale: ​A Beautiful Room to Die In
    • Griselda Gambaro: Asking Too Much,  Mother by Trade​, Siamese Twins, Whatever Happens Happens, Dear Ibsen, I am Nora, Asking Too Much
    • Carla Grauls: ​Made for Him
    • David Grieg: ​Being a Norwegian
    • Jaroslav Hasek: ​The Good Soldier Schweyk
    • Jacob Hirdwall: Emperor Fukishima
    • Robert Holman: ​A Breakfast of Eels, ​Rafts and Dreams
    • Odon Von Horvath: ​Judgement Day
    • Henrik Ibsen: The Lady from the Sea
    • Jean-Claude Van Italie: ​The Serpent
    • Simon Jaggers: Breaking Horses ​
    • Elfride Jelinek: Wut (Rage)
    • Charlotte Keatley: Emilie's Reason
    • Lucy Kirkwood: NSWF
    • Marie-Héléne Larose-Truchon: ​Midnight
    • ​Maurice Maeterlinck: The Blind
    • Hannah Moscovitch: ​Little One
    • Gregory Motton: ​A Worthless Man ​
    • Rona Munro: ​Basement Flat
    • Maria Nygren: Hummingbird,   Missing Cat
    • John Osborne: ​A Patriot for Me
    • Nick Payne: ​The Frugal Horn
    • Harlold Pinter: ​A Night Out
    • Luigi Pirandello: Absolutely (Perhaps)! ​
    • Gerlind Reinshagen: Sunday's Children ​
    • Friedrich Schiller: Joan of Arc ​
    • Arthur Schnitzler: ​La Ronde
    • Sam Shepard: A Short Life of Trouble, The War In Heaven,  ​When the World was Good​
    • ​Laurie Slade: Supermoon
    • N.F. Simpson
    • Simon Stephens: ​Country Music, ​ Herons, Rage
    • Nis-Momme Stockman: ​The Man Who Ate the World
    • Ramon del Valle-Inclan: Bohemian Lights
    • David Watson: That's What I Call Music
    • John Webster: ​The White Devil
    • ​John Whiting: Saint's Day
    • Oliver Yellop: ​I am Gavrilo Princip
    • Carla Zuniga: ​I'd Rather Be Eaten by Dogs, ​S.A.D. Summers of Princess Diana
    INDEX of articles:​
    • Dellilo Delight (17/3/21)​
    • Country House Catastrophes (17/3/21)​​
    • Key Largo... in need of upping the ante from largo to andante (17/3/21)​
    • Ibsen in the Dolls'/Dog House (22/1/21)
    • Commitment versus Accomodation (22/1/21)
    • An American Primal Moment (22/1/21)
    • Beauty and Terror in the unknown (22/1/21)
    • Schiller - Thriller or Filler? (24/10/20)
    • From Summer to Autumn, from Eden to the Fall (21/10/20)
    • Our 'Summer Season' of Readings (15/9/20)
    • A Season-Concluding Strudel (30/6/20)
    • The Sacred, the Profane and the Reconfiguring of Action (22/6/20)
    • Spartacus and The Butterfly Effect (15/6/20)
    • ​Writing a Forgotten Person (10/6/20)​
    • Fragile Worlds (8/6/20)
    • Contrasting Gender Agendas? (8/6/20)
    • Imagined Realities (24/5/20)
    • Freedom and Confinement (19/5/20)
    • Social Restrictions amidst a Covert ‘Epidemic’ of Lawlessness (9/5/20)
    • Rage and Transfiguration (4/5/20)
    • An Epic, Surreal Journey on a Raft across Dreams by C. E.
    • ​'S.A.D. Summers of Princess Diana': a Taste of an Ending by C. E. 
    • A Brilliant New Chilean Take on a Familiar Fairy Tale Story by C. E.
    • Reality or Madness….or both? An Expedition with Pirandello into the new Zoom Universe by C.E.
    • READING NEW PLAY BY REGINE FOLKMAN ROSSNES by Colin Ellwood
    • A Collaborative Complicity by Charlotte Keatley 
    • ​A Blind Poet and a Blind King Corralled in a Discovery of Chairs by Colin Ellwood (07/10/16)​​
    • ​An Atmosphere of Daring by Gwen MacKeith
    • ​Keeping Afloat by Siubhan Harrison
    • ​Between the Lines by Christopher Naylor 
    • ​Prospecting by Bill Nash 
    • ​Missing Voices by Jamie deCourcey (02/05/15)
    • The Propensity to be Enriching by Danny Horn (19/01/15)
    INDEX of contributors:
    • John Chancer
    • Jamie de Courcey
    • ​Colin Ellwood
    • ​Tom Freeman
    • Valerie Gogan
    • Siubhan Harrison
    • Danny Horn
    • ​Charlotte Keatley
    • Stephanie Königer
    • Gwen MacKeith
    • Caitlin McLeod
    • ​Bill Nash
    • Christopher Naylor
    • Alex Ramon
    • ​Stephanie Rutherford
    • ​Simon Stephens
    • Jack Tarlton
    • Oliver Yellop​
    TAKE ME BACK
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