a bigger wall than ever imagined
by Douglas Messerli
Robert Schenkkan Building the Wall / Los Angeles,
Fountain Theatre / the performance I saw was on April 30, 2017
Robert Schenkkan’s new play, Building the Wall, is a fictional dystopian work that has already happened and a dystopian warning of what might very easily happen in our lifetime, particularly under the presidency of Donald Trump.
The prison is soon overwhelmed, and when cholera begins to break out,
even the simplest of systems collapse, as guards (and even those imprisoned)
sell and barter (with sex) for the dwindling supply of drugs and foodstuffs.
And still the immigrants continue to arrive by the busload. Rick begs
for help from higher-ups, but receives only assurances that he should continue.
Finally, unable to house all the “prisoners,” he takes over a nearby football stadium,
calling up the terrible slaughter houses of South American dictators. But even
there, sanitation begins to become a problem (the same thing we saw during Hurricane Katrina in New Orleans), and
rebellions occur daily.
Finally, after consulting with the head of the company for which he
works and two others who appear to be FBI or Pentagon representatives, they insist
that he take care of the issue, arranging for a larger nearby facility to be turned
into a kind a slaughter house not very different from the Nazi camp killing
chambers of the Holocaust.
Even before he arrives to check out the facility, steel doors have been
constructed, windows removed, lines painted to facilitate prisoner movements,
and large water conduits created to wash down the place after the prisoners,
who have been told that they are being processed for extradition, have been
exterminated.
Asked by his questioner, Gloria (Judith Moreland), why he didn’t simply
quite the job which by that time Rick was finding unbearable, like the Nazi
apologizers after World War II he makes plausible excuses: his beloved wife was
suffering from pre-natal illness and might have lost their baby, besides they
would simply have hired another like him. Similar to so many of the Nazi
underlings, he simply attempts to avert his gaze, seldom returning to the
killing house “except when there was trouble.”
Several critics, including the Los
Angeles Times’ Charles McNulty, have compared Rick’s behavior to that of
Eichmann, whose actions Hannah Arendt had characterized as being part of the
“banality of evil.” But, fortunately, the playwright does not actually make
that connection. Like Eichmann, Rick did know what he’s doing, and was, in many
ways, a true demon who justified his own actions just as Trump (and others such
as Putin) by deliberately lying, in the belief that the more they repeated it,
the truer their lies became.
Rick is not so banal, and more intelligent that even Eichmann, in his
play-acting, pretended to be. And, while it is clear Rick, like those before
him, has been served up as a kind of scapegoat by the government and other
agencies, he is quite aware of his guilt; after he finally tells his wife,
Stacy, what he has done, she no longer will look him in the face.
Schenkkan does not simply blame the bureaucracy or even the
authoritarian rulers, but the everyday men and women they need to carry out
their acts, namely each and every one of us. Unlike Arendt’s rather simplistic
summarization of how such things happen, the playwright puts the focus on the
doers, not just the instigators, on the Eichmanns, not simply the Hitlers
amongst us. Like Eichmann, Rick can give a specific approximation of the
deaths, somewhere between 20,000-40,000.
Certainly, there are significant problems with Schenkkan’s play. For
one, it is too simple as a conceit. There are dozens of other more pernicious
ways of destroying people than simply killing them. The walls we build are not
only at our country’s borders but within it, as Laila Lalami intelligently
noted in this very morning’s The New York
Times Magazine (“Over the Edge”), and can be manipulated to ostracize any
“other” we might imagine, allowing us to destroy their lives. In this way, we
can slowly and sometimes not so slowly “kill off” the poor, the disadvantaged,
the uneducated, and numerous notions of “the other” just as quickly as this
play describes those born in other countries who have sought solace in our
world have been.
Personally, I would like to see someone (a playwright in the tradition
of Mac Wellman perhaps) explore how the misuse of language itself (an obvious
sin of Trump and his many demagogues) can so convert the truth that ultimately
it kills. When no one finally can believe in any truth, the world itself turns
in a dark mystery that makes everyone fear for their lives.
Schenkkan’s work, moreover, is not always up to its own task. Although
pretending to be a dialogue, which might be the most appropriate way to get to
the heart of things, the highly intelligent black woman psychologist,
sociologist, and reporter who interviews Rick serves primarily as a spur to
Rick’s memory rather than elucidating and revealing new aspects and meanings of
the horrible events that have occurred. Only once and a while, does she add an
important comparison to past history; but we know she could tell us so much
more that we miss her more authoritative presence.
Rick, himself, however makes what is perhaps the most important
realization that Schenkkan’s play offers: in order to build a wall you don’t
necessarily need bricks, mortar, wood, metal, or whatever else border walls are
made of. The murder of all of these poor individuals alone made it certain that
no one of sound mind might wish to enter our country. The wall these events
made is a permanent one that stands higher than even Trump’s glib visions of a
towering monument of isolation.
If Building the Wall is not a
great play, it is certainly a memorable one that encourages its audiences to
truly think and imagine. And I admire Los Angeles’ Fountain Theatre for
presenting it before it moves on to other cities such as Denver, Washington,
D.C., Tucson, Miami, and New York. The work has found such popularity here,
that its run was extended.
Los Angeles, May 1, 2017
Reprinted from USTheater, Opera, and Performance.
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