PROBLEMATIC BITS (THAT CREATE A PLAY)

Christopher Durang “Beyond Therapy”; directed by: Alisa Stojanović; produced by: Podgorica City Theatre; opening night: 25^th June 2010

By: Milena Pejović

Back in the 1980’s, when Christopher Durang was writing this play, it was necessary to warn that ‘’life is  terrifying and without any order’’. According to this logic, author explains his solution in fight against this terrifying nature of life: ‘’ people become close to fight these horrors hand in hand’’. We all agree that one of the most terrifying situations in life, we all have to face, is lack of safety in the hand we offer and lack of trust in the hand we receive. Blinded by fears, Durang’s heroes try to find some order in their lives by visiting psychotherapists, responding to personal ads, going out on blind dates – fully aware how unsuccessful these methods are. Internet, fast lives, alienation and other problems of our time have complicated these already complicated emotional relations, so staging this hilarious comedy at the City Theatre seems more than contemporary.

Although our main topic is artistic accomplishment , when it is set at the City Theatre we must mention its institutional background. This theatre does not have its own building, but it borrows (better to say, it survives) space of the old “Budo Tomović” Cultural and Information Centre. In these terrible conditions, when it seems easier and logical to give up, members of this small theatre manage to put on at least one play a year. “Beyond Therapy” is the play that marked their repertoire in 2010. I am fully aware of how extreme my next statement is – I set will and enthusiasm of these people that have been creative under impossible conditions, especially for a professional theatre with over 60 years of tradition, in front of art and aesthetic of this play. On this side of the medal, in advance I determine that everything they try to do to improve theatre life in Podgorica is worth mentioning. That would be all about the ‘’inside’’ part.

Now let us concentrate on the play itself. Engaging a renowned director from Belgrade Alisa Stojanović sets high expectations for people who are well informed about theatre. When we add how contemporary and actual this play is, with intelligent and witty replicas full, then we are forced to say that, unfortunately, expectations have not been met. Direction is based on emphasising how theatre and reality are interwoven, by meta-theatre procedures – actors give open instructions to technicians, when speaking they do not look at each other but have a persisting and suggestive way of staring at the audience. This impression is emphasised by stage design (by Darko Nedeljković, assistant art director is Smiljka Šeparović) dominated by mirrors in the background that point out theatre’s fragile illusion. Some of director’s solutions, as over-use of music and dance at parts they do not belong, during key dialogues, for instance, divert attention rom an extremely important layer of drama based on explaining contemporary communication problems. Lack of psychological layers of characters and only hinting their future reactions, seem like a bad idea, confusing and lacking in logic.

This impression is emphasised by inconsistent acting, especially that of the main characters – indecisive bisexual Bruce, played by Pavle Ilić and homophobic Prudence, played by Maja Šarenac. Their acting lacks spontaneity and credibility and their articulation is at times very bad. A much better impression was left by Mladen Nelević and Ivona Čović who play crazy psychotherapists who need therapy more than most of their patients. Nelević is very convincing in his role of lustrous womaniser Stuart. Čović is good and consistent through the play in her role of eccentric psychiatrist Charlotte, who stumbles even over the most simple words. If we are to judge by audience’s reaction, that laughed and applauded at lines filled with swearing words, we are to conclude that this is the point where theatre and reality overlap, which justifies use of swearing words on stage. Each character slowly, but surely, slides into a caricature. I must emphasise that caricature is unwisely underlined in characters that are openly gay – Bruce’s friend Bob (Branko Ilić) and waiter Andrew (Dejan Đonović). This caricature is not that evident in performance as it is in costumes (that are designed by Jelena Đukanović, assistant costume designer is  Milena Đurđić). Straight characters have modern, aesthetically well-done costumes, while gay characters are stereotyped with costumes made of strass, glitter, leather, feathers etc.

These drawbacks open issues that are not only about costumes as an important segment of theatre, but of the final outcome of the play, because in art, as well as in life, these details matter.