playing the play
Back to Back Theatre Group Ganesh Versus the Third Reich / performed by Mark Deans, Simon Laherty, Scott Price, Brian Tilley and Luke Ryan / Los Angeles, UCLA Freud Playhouse / the performance I saw as a matinee on Sunday, January 27, 2013
The Geelong, Australia Back to Back
Theatre Group, according to their own description, “creates new forms of
contemporary theatre imagined from the minds and experiences of a unique
ensemble of actors with a disability, giving voice to the social and political
issues that speak to all people.” Certainly, those are lofty goals, but one
does have to question the “all.” Can anything speak to “all” or even attempt
to. The two elderly women who sat next to me yesterday afternoon had no idea
what they were about to see, and were quite visibly disturbed when, late into
the play, the actor also playing the director of the work (Luke Ryan), lashed
out at the audience sitting in the first rows for “coming to see a freak show,”
although he mollified them some by claiming he always imagined the first few
rows of the theater as empty. The production I saw was sold out!
Moreover, this is a work which requires the audience attend, that they
listen closely just to hear some of the disabled, Australian actors’
words—sometimes slurred with heavy “down under” accents—and mentally make large
metaphorical connections as well as accept a work that might be seen as morally
reprehensible to some. Indeed, when the company first conceived of a story in
which the great Indian Ganesh, the elephant-headed “mover of obstacles” visits Adolph Hitler and Joseph Mengele to retrieve
the Hindu swastika symbol, they themselves felt it might be inappropriate to
combine such a “fairytale” within the holocaust.
In the end, however, Ganesh Versus the Third Reich is less
about the meeting of the ancient God with the monstrous Nazi leader that in is
a work dealing the attempts of this group to create and accomplish such an
audacious piece of theater. Four of the actors have difficulty with language,
and one, Mark Deans, has trouble in even expressing himself, often confusing
the experience of the performance with reality. Brian Tilley, playing the
elephant-god, strongly questions the effectiveness or even propriety of his
performance. The young actor playing both a Jewish prisoner and, later, Hitler,
Simon Laherty, is often timid to take on such unlikely roles. Scott Price
emphatically feels the whole play is a terrible mistake, lashing out at the
work’s “director” and the rest of the cast. But gradually we begin to see
parallels, not so much in the story, but in relation to the large issues of
power and control, along with Nazi Dr. Megele’s real-life fascination with what
he would described as “degenerates.”
Ryan, who The New York Times critic
Ben Brantley described as a “handsome and well-spoken man” (i.e., apparently
not mentally challenged) alone sees the importance of presenting this play,
coaxing his often recalcitrant company with praise and pep-talks, only to finally
give up in complete frustration after Price refuses to fall correctly upon being
“shot,” a scene which ends in all-out battle between him and the others,
closing down the play.
Appearing most of the time only in silk running shorts, as if to show
off his physique, Ryan is caring and protective at the same time he is his glib
and domineering. Although he is a force behind the production, he is also part
of the reason for the company’s own doubts, a kind of friendly bully who,
although sympathetic to their difficulties, is also impatient and sometimes
outright abusive. Although the members might often virulently argue with each
other, they give one another supportive hugs after brutal interchanges, working
as a unit in their achievements. In short, they do precisely what any theater
company must do if they are to attain an effective performance, only here the
effect is the opposite of the naturalistic or theatrically coherent performances
most of us would define as “great theater.” Here it is the differences, the
friction, the interruptions, even the holes in the work that matter far more
than the absolute credibility to which most of Western theater generally
aspires.
And yes, we realize, that does somehow represent us all. We all want to
be appreciated for the theater of the self we every day create, even if the
acts we undertake cannot be as heroic as we might have desired.
Los Angeles, January 28, 2013
Reprinted from USTheater, Opera, and Performance (January 2013)