keeping the homefires burning
by Douglas Messerli
George Bernard Shaw Heartbreak House / American Airlines
Theater (Roundabout Theatre Company), New York / the performance I attended was
on December 10, 2006
“It is difficult to say whether indifference and neglect are
worse than false doctrine; but Heartbreak House and Horseback Hall
unfortunately suffered from both.”
—George Bernard Shaw, from his
Introduction to
Heartbreak House
When I announced to my companion
Howard in December that I would be seeing George Bernard Shaw’s Heartbreak House in New York, he asked
me, with a kind of bemused innocence, whether anyone still read Shaw!
I paused to consider the question, ready as always to spring into
defense of any writer of great stature ignored by his or her public. But after
a few moments, I admitted, “I don’t think anyone who isn’t studying drama in
the university reads Shaw these days.” Of the dozen or so literary friends I
asked while I was later rereading the play, only one had read the work, some of
my friends confusing it, momentarily, with Dickens (Bleak House, I presume).
Hesione Hushabye (brilliantly played in the version I witnessed by
Swoosie Kurtz) has invited Ellie Dunn to her country house, primarily to thwart
Ellie’s “romance” and marriage to Boss Mangan, a boorish industrialist whose
mind functions as swiftly as a turtle on the run. Upon Ellie’s arrival no one
bothers to greet her, and she is left to the strange inattentions of Mrs.
Hushabye’s aging father, Captain Shotover (Philip Bosco), and the ineffective
sympathy of their servant, Nurse Guinness, who wanders in and out dispensing
cockney-like endearments such as “ducky” and “poor lamb.” The Captain, who
lives in a world apart from those around him, also moves in and out of rooms
(as well as, we later discover, in and out of sobriety) in his attempt to
attain “the seventh degree of concentration.” Miss Dunn, he proclaims, is the
daughter of his boatswain, originally a pirate in China!
Superficially patterned after the boulevard farce, Heartbreak House brings together all its players: Lady Utterword,
Hesione’s sister—whose existence her father appears to have utterly
forgotten—followed soon after by Ellie’s father, the wise fool Mazzini Dunn,
and the very man with whom Ellie has just confided to Hesione she has fallen in
love, Marcus Darnley—in truth Hector Hushabye, Hesione’s husband. Boss Mangan
and Lady Utterword’s brother-in-law, erstwhile lover, Randall enter soon after.
The cast is complete.
Together these absurd beings, egged on by the three incredibly beautiful
women at their center, reveal all the silliness, idle indifference, and
cultural emptiness of the British gentry. Shaw’s aim is clearly to satirize,
but the topsy-turvy nature of the characters, as they implacably fall in and
out of love with one other, provides us with a splendid melodrama.
We soon discover that each is busy hatching up plots of how to use the
others in the search for.... Well, that is the problem, for these folks’
actions have no true goal. Little has meaning outside of the characters’
hilarious machinations. For this reason, Shaw’s humor is far more profound than
any standard farce. While each character speaks poignantly of his or her need
for love and belief—while forced to remain in a country (or country house) that
breaks all human hearts—desires and values, we quickly recognize, shift in the
span of a heartbeat. Except for Mazzini Dunn’s flatfooted honesty and the
mysteriously twisted aphorisms of the ancient Captain, there is no truth behind
their Schnitzlerian turns and twists.
I have never thought before of Shaw in this context, but as the play
comes to its brilliant ending, as the collective whirlwind of near-meaningless
proclamations, admissions, and confessions comes to a close, it is clear that
this great playwright has created a work that, metaphorically speaking,
resembles the kind of vortex of which Wyndham Lewis wrote in 1914—the year
after Shaw had begun his play:
You think at once of a
whirlpool. At the heart of the whirlpool
is a great silent place where
all energy is concentrated. And there,
at the point of concentration,
is the Vorticist.
And with that declaration, Shaw has said it all, revealed what lay at
the heart of Britain’s—of Europe’s—World War I struggles. A vacuum, a vast
whirlwind of meaningless activity, can only lead—as Lewis comprehended and
sought out—to the concentrated center where the natural is destroyed, replaced
by an abstraction of life.
Los Angeles, February 6, 2007
Reprinted from Green
Integer Blog (July 2008).
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