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Amidst the hustle and bustle of Greenwich Village, New York, is Abingdon Square where the story of Marion's teenage immaturity turns into an adult drama. When Juster, a fifty year old man, and Marion, a fifteen year old girl, decide to unite in matrimony under the face of love, the play begins. They live together with Michael, Juster's son from a previous marriage. Michael and Marion are the same age. As one would expect, this unusual family's existence set in motion a rather morbid series events which Maria Irene Forces calls Abingdon Square. In a timeframe of two hours, nine years passes in the context of the play.
From the stance of a director, it was always going to be a difficult task trying to string together the irregular time gaps between each scene. Scott T. Cummings, the director of this play, created his own version of Abingdon Square which took my fancy; but, others found it boring and very confusing because he failed to demonstrate a congruous link in time (i. e. especially with regards to the aging of characters). Having read the play prior to the performance and discussed it, I knew the plot would thicken, tempers would flare, Marion's sexual urges would only be satisfied by extramarital sex, and it would all be worth it in the end.
However for others in the audience, changes in time were too much to digest and Act One seemed to last an eternity. Upon returning from the intermission, I heard groans of discontent from audience members around me. So I asked the man seated to my left what he thought of the play; he was a young Chinese fellow from the graduate school named John. He said, The only reason I am still here is cause my friend is in the performance.
I dont understand whats going on- She, a woman seated in front me interrupted with a sigh of relief. She continued, I thought I was the only one that thought this play was a bit slow Had I not been enrolled in a theater course reading the same play, I might have found myself in the same boat as them. Anyway, after explaining to them the intricacies of the plot and rehashing a few insightful phrases from class, they decided to stick around until the end. John thanked me afterwards. Despite the obvious deficiencies in the fluidity of time and events in the play, the acting was superb. Marion, Juster, and Michael were as real as someone who exists.
Juster was well-groomed, outwardly arrogant but inwardly self-doubting, and condescending to Marion. He walked with an undeniable stiffness and his lack of understanding of a young woman made him unworthy of Marion's affection. Michael, his offspring, was his opposite. He was very prim and often came across more as the child of Marion as opposed to the child of Juster. Nonetheless, Marion was naive and full of youthful exuberance and this was evident in her individual performance; however, at some points she lost her character footing, behaving melodramatically or as if she were unsure what facial expression would be best suited for specific reactions to other characters. Nevertheless, the cast collectively created a reality in Abingdon Square for two hours that enraptured all those who had background knowledge of the play.
This play is definitely not for public consumption. Because the plot is too erratic and filled with too many subtle underlying themes, it is best suited for an audience of academics. The play touches upon female subservience, marital imprisonment and ethics, rite of passage to adulthood, and even the incapability of death. Juster's marriage was either a conscious or unconscious decision of his to repress the memory of his former wife and to distract him from his ever-encroaching death, which was all too apparent to him at the fifty year old mark. Now, as a former cellist, I may be biased in my next statement. But, Adrian Curtin, the music designer and cellist, was the star of the play.
The compositions were handpicked and idiosyncratic. Each piece was simply mesmerizing by virtue of its enigmatic melody. With a rough and a slight bow stroke he kidnapped your attention; by tapping the side of the cello and drumming the back of the cello he carried you away to mystical rhythms of thematic meanings hidden and once forgotten; and with the stomp of a foot, he broke the trance and delivered you promptly to the next scene. Single-handedly, Curtin poured forth beats and melodies, creating a one-man-orchestra.
Music is a very potent tool when used correctly. Cummings uses music to his advantage in this production. The song sung at Juster's birthday was very-well choreographed and received a round of applause by the audience at its end. But, the most moving song was at the end. When Michael and Marion were huddled over the enfeebled stroke-inflicted Juster, Jenny (Patricia Noonan) ethereally sung from the attic. It did not matter what the song was about; the different notes she scaled were amazing and in tune with the scenic melancholy present.
In a nutshell, Cummings bit off more than he could chew. People did not appear moved by the play; as a matter of fact, they seemed indifferent to the production, which was probably due to their lack of understanding. The play was difficult to follow for the majority of the audience; therefore, I believe it would be best served in a theater of academics studying Abingdon Square. As the cellist plucked each chord, I exhumed another layer of meaning from within myself and from the play; the effect of his compositions will remain in my thought forever.
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Research essay sample on Michael And Marion Lack Of Understanding Play
