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Working-class Tension
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15216 |
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Section : |
THE ARTS
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| Issue
Date : |
8 / 1989 |
2,895 Words |
| Author
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Herb Greer
Herb Greer is an American writer and playwright who lives in
Britain and on the Continent. |
It is often difficult to sit through a new play at London's National Theatre. The proceedings are usually dominated by red-eyed intensity, a pose of great importance that makes the performance and its content hard to swallow (e.g., David Hare and Harold Pinter); in other words, the shower of grit from axes being ground thickens the atmosphere and tends to obscure the innocent view of what is happening onstage. The subsidized playwright is seldom content with being a playwright. He or she must also assume the role of mama pelican, retching up a gutful of half-digested, rather stale food for thought, which is then crammed down the collective throat of an eagerly gaping audience.
Battering Ram
This grim proceeding has become a kind of rule on the South Bank of the Thames. When exceptions do turn up, the effect is slightly numbing at first. One sits in the stalls, waiting for the sermon or the MEANING to jump out of the play (or at least the production) like a pantomime demon king bursting up through a smoke-blurred trapdoor. Slowly, very slowly, it dawns upon the honest spectator that there will be no battering ram of enlightenment. One is watching a play, that is all. In the case of The March on Russia it happened to be quite a good play, much better for being modest, compassionate, and calm, with all the assurance of a writer who knows his own limitations and does not try to tell the audience what theirs are.
David Storey is rather special among the writers of his generation (he was born in 1933). About thirty years ago, when "working-class" writers were more or less literally the rage in Britain, he was one of the very few who
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