DIARY OF A SOMEBODY: JOHN LAHR
UNC-Chapel
Hill. January 28th 2012. 8pm – 10pm
If you read his
diaries, all will be explained.
Room 102 of Chapel Hill’s Centre for
Dramatic Art is a punitive, white-washed room in a very big building. Yet, in
the diminutive space, the LAB!Theatre presents a simplistic stage – two walls
covered by six heavily postered panels in an ‘L’ shape, a multi-use table
covered by a sheet and a single desk with chair in the corner of the ‘L’. The
audience enters as the cast face the panels, lightly touching the photos and
words plastered there, occasionally shuffling close together and making
lascivious faces at one another. Finally, two split away from the wall, one
sits at the desk, the other coming forward to the table and opening his mouth
to speak. This is Jack Utrata, playing Joe Orton, his first lines taken
straight from the diaries of a dead man.
Based on the last few months before
Kenneth Halliwell murdered his lover, British playwright Joe Orton, in 1967,
the play was directed by Glasgow exchange student, John May, for the UNC-Chapel
Hill LAB!Theatre. ‘Diary of a Somebody’ was a controversial performance to
choose for the first LAB! show of the year, polarising audience opinions from
its opening night.
May admitted that this was one of the
things that he aimed to do, ‘North Carolina is terribly conservative, I wanted
to force them to face something that would make them uncomfortable.’
As promiscuous as he was promising, Joe
Ortan’s life allows the play to confront contemporary issues as well as those
from the origins of the 1960s sexual revolution. At UNC, this is particularly
poignant with the ever-looming threat of Amendment One. However, May insisted
that his desire to put on the play was also to do with the fact that it was the
first time the play would be performed in America in thirty years.
Indeed, it is hard to tell how much of
the effect of the play is Lahr and how much is direction. With five cast
members, three of whom play thirty different roles, the performance accentuates
the idea that this play written from the diaries of a playwright does not come
from the perspective of the playwright. These ‘thirty others’ are faceless,
sometimes nameless and unimportant to the true narrator behind the play,
notably suggested by their costumes: half one outfit, half another. The room, as small as it is, emphasises the
intimacy of the two primary characters as well as juxtaposing the privacy of
the diary form with the publicity of the stage. As all the elements are drawn
together: the setting, the characters, the action – we realise that the play is
a murderer’s excuse. Even as Halliwell’s repeated plea becomes a desperate rage, Lahr’s writing becomes a confession, the
audience his jury.
This is comedy at its darkest, character
acting at its finest and LAB! living up to their reputation.
Je serai poète et toi poésie,
SCRIBBLER