The Elusive Catch: A Playful Exploration or a Confusing Conundrum?
I recently had the pleasure (or confusion, depending on your perspective) of attending the opening night of 'Catch as Catch Can' at the esteemed Steppenwolf Theatre. This play, penned by Mia Chung, presents an intriguing concept but leaves many audience members scratching their heads, wondering if they've missed something crucial.
The renowned playwright Jerome Lawrence once wisely advised that playwrights should never leave their audience in the dark. While challenging conventions is essential, especially in the theater world, it's a delicate balance to ensure the audience isn't left bewildered.
'Catch as Catch Can' employs a clever device, using three actors to portray six characters, but it's not a mere exercise in doubling. Chung delves into the complexities of identity, exploring how life's twists and turns can challenge our sense of self. The play asks: Who are we when our circumstances change, and how do we navigate the collision of our expectations with reality?
The casting choices are deliberately unconventional, with actors playing against gender and age. This approach, in theory, allows for a fresh examination of familial relationships, stripping away preconceived notions. However, the execution may leave some viewers perplexed, especially in the initial scenes.
The play's exploration of identity is intriguing, but it takes an abrupt turn midway, shifting its focus to mental health and depression. This transition feels somewhat jarring and may leave audiences questioning the coherence of the narrative.
Personally, I found the play's attempt to layer identities and challenge expectations admirable. However, it's a fine line between intriguing complexity and confusing chaos. The success of such an experimental approach relies heavily on the audience's willingness to embrace the unknown and the theater's ability to guide them through the maze of identities.
What makes this production even more thought-provoking is the original casting in New York, which included two Asian American actors, adding a layer of cultural commentary to the initial scene. This detail highlights the power of casting choices in shaping the audience's interpretation.
In the context of elite, nonprofit theaters, the portrayal of white, working-class New Englanders is a familiar trope. 'Catch as Catch Can' attempts to go beyond this by exploring the roles we play within our families, suggesting that family dynamics are a series of layered performances. It's a fascinating concept, but one that may require a more nuanced execution to truly resonate with audiences.
Chung's deconstructionist approach is intellectually stimulating, but it raises questions about the future of theater. While subversion has its place, it's essential to strike a balance between innovation and accessibility to ensure the art form's longevity.
In conclusion, 'Catch as Catch Can' is a daring theatrical experiment that challenges both the audience and the conventions of playwriting. It invites us to reflect on identity, family, and the very nature of theatrical storytelling. However, it also underscores the importance of clarity and coherence in ensuring that the audience remains engaged and enlightened throughout the journey.
