Staging Homer for Generation Simpson

Odyssey by Derek WalcottTHE ODYSSEY,
A STAGE VERSION-
Greek myth would be no more complicated than JK Rowling, JRR Tolkien, or GRG Lucas, but I suspect that to impress Homer unto modern audiences might have the disagreeable consequence of educating them.

This weekend Colorado College students staged Derek Walcott’s 1992 The Odyssey in the South Theater of the Cornerstone Arts Building. And performed it brilliantly. Every role, every effect, executed with vitality and aplomb.

Except for the Jamaican nursemaid and Aussie shepherd, the CC actors dropped Walcott’s New World islander accents, but their production honored his post imperialism critique.

My favorite sequence depicted Cyclops as an all-seeing 1984 distillation of mortal man’s inclination toward totalitarianism. The Circe episode is nagging me for further reflection, if I’m to imagine that Walcott would not succumb to the traditional Siren/Mermaid/Nymph misogyny.

If you can’t shake the admonition that rational man’s chief torment is woman, you need look for no literary antecedent before Homer.

Obviously, not all that is Greek is instructional, but wouldn’t it serve our education nicely if, instead of the insipid nuances of fictional worlds imagined by scribes steeped in the decay of Western Civilization, our children could commit to their memories the literary plots –no less compelling– which form the building blocks to a greater appreciation of all art?

We told the kids that the Odyssey was Western Civilization’s first sequel. Of course, the Iliad was a lot to have to recap. Not surprisingly, their experience was “the most random ever.” But while I lamented my missed advance opportunity to have brought them up to speed on the gods and heroes of antiquity, our eleven year old noted, of the lines spoken by the mysterious personages: “Everything they said was always about something else!”

Poetry!

OF FURTHER INTEREST:
Creolizing Homer for the stage: Walcott’s The Odyssey, by Robert D. Hamner, Twentieth Century Literature, Fall, 2001

Playing With Europe: Derek Walcott’s Retelling of Homer’s Odyssey, by Irene Martyniuk, Callaloo 28.1, 2005

Harry Potter meets Laura Bush

The role she was born to play.I wanted to hate Harry Potter’s latest movie but for one happy surprise: the villainous Dolores Umbridge, played not as a malignant Mimi Bobeck, but instead a spot-on incarnation of First Librarian/Educator guess who?! The First Lady played herself, a smiling headmistress pulling a no-child-left-behind clear-skies-initiative at Hogwarts to subvert the education process lest new skilled wizards graduate to jeopardize the duplicitous aims of the state ministry. With a saccharin plastic grimace and trademark twinkle in her eye, Ms Bush thwarted the young wizards’ magic lessons and exacted Kafka’s Penal Colony punishment on her unresisting subjects.

The unflinching First Lady caricature lent this Potter adventure a semblance of social commentary, but betrayed us thereafter, offering nothing else resembling Muggle/human nature or societal fabric to give a viewer insight into their own lives. Except maybe the ugly scarves at Christmas for comic relief. Otherwise Harry Potter and the Order of the Phoenix was pure entertainment at the cost of two hours of your imagination on idle, but I’ve read no more than a page of Potter, so what do I know?

I also really don’t know enough about Dungeons & Dragons or Tolkien to be able to judge the genre. Is it enough to appreciate J.K. Rowling’s fanciful parallel world like an elaborate puzzle or computer fractal marvel? It’s not my resistance to trivial minutia, it’s that all the clever pieces form an intricate lattice holding up nothing. This is my usual rant against videogame storytelling, always swimming upstream against currents of obstacles, pocketing clues. It’s myth-telling void of any wisdom, natural or historical, unless you count history as keeping a bread crumb trail of Harry’s info quests.

The forces of darkness and light in Harry Potter’s Tatooine lack for every dimension except on/off amplitude, even there without shades of grey. The characters’ actions are driven by neither sociobiology nor mortality. Only at the film’s close does our young Jedi/Chosen One offer an afterthought about team spirit to buoy his friends as they contemplate the battle with evil coming in the next installment: “Unlike Voldemort, we have something to fight for.”

Really? To my mind, anticipating that great evil fights for no reason misjudges its relentless zeal. The misdirection echoes the New World Order fear-mongering against Moslem Evildoers, terrorists apparently who act “because they hate us.”

Surely this underestimates the selfishness or desperation that makes the real world go ’round, motives neatly incomprehensible to young altruist minds. Real evil is an infinitely more ruthless force which preys already on the Harry Potter generation outside the theater doors. That evil is systemic, its motive is greed, and it perpetrates dehumanization. Also like the movie’s corporate makers, it employs misdirection just like Dolores Umbridge Bush to neutralize Harry and his friends.

That said, Imelda Staunton’s flawless turn as our Cretin-in-Chief’s cretinous better half was gloriously, fearlessly in-somebody’s-face.