In the world of theater, there's an ongoing debate about the balance between challenging conventions and ensuring audience engagement. This discussion is sparked by Mia Chung's play, 'Catch As Catch Can,' which recently premiered at Steppenwolf Theatre. The play, with its unique casting and exploration of identity, raises intriguing questions about the role of theater and its ability to push boundaries.
The Play's Premise
'Catch As Catch Can' employs a small cast of three actors to portray six characters, a deliberate choice by Chung to delve into the complexities of identity. The play examines how life's circumstances can reshape our sense of self, forcing us to adopt new roles as we encounter uncontrollable situations, often triggered by our own children.
A Conscious Exploration
Chung's instructions for casting without regard to gender or age add an extra layer of intrigue. The opening scene, directed by Amy Morton, showcases Gary Cole and Tim Hopper as two women, a choice that initially confuses some audience members. This confusion, however, is part of the play's design, as it explores the fluidity of identity and the impact of societal expectations.
Navigating Stereotypes
As the play progresses, the audience is confronted with a web of relationships and identities. Audrey Francis, a standout in the ensemble, portrays a New England man, challenging traditional gender roles. The casting choices, while intriguing, also raise questions about the reinforcement of stereotypes, especially with the initial portrayal of gay characters.
A Shift in Tone
One of the play's notable transitions is its shift from an exploration of identity to a focus on mental health and depression within a family context. This shift in tone is rapid and, for some, feels jarring and inorganic. It raises questions about the play's overall message and whether the exploration of mental health is a natural progression or a separate entity within the narrative.
Targeting a Demographic
The play's focus on white, working-class New Englanders is an interesting choice, especially for elite nonprofit theaters. While it provides a unique perspective, it also raises questions about representation and whether the play truly captures the lived experiences of this demographic. This choice, however, can be seen as a deliberate move to challenge the status quo and encourage a deeper exploration of family dynamics.
Deconstruction and Subversion
Mia Chung is a skilled deconstructionist, a style that gained popularity in academic theater circles a few years ago. Her work subverts expectations and challenges the traditional family play format. While this approach is intriguing and thought-provoking, it may not be the key to securing the future of theater, especially at a theater like Steppenwolf, known for its grounding in reality.
Final Thoughts
'Catch As Catch Can' is a thought-provoking play that challenges the audience's perceptions. While it may not fully satisfy those seeking a deeper understanding of a specific demographic, it succeeds in sparking conversations about identity, family, and the role of theater in exploring these themes. It's a play that leaves you with more questions than answers, which, in itself, is a testament to its success in provoking thought and discussion.
