The caddie to-do wasn’t ever much more
than an anglerfishworth of gender trappings;
our souls’ faint inner-shirkings
beg to interrupt the rat race formula
so conveniently laid out for us.
Failure is a foregone conclusion
when you stack the chips a certain way.
Of course, we all must stray
from our internal clocks
for the convenience of our plutocratic overlords.
Demean yourself so you can put food on the table,
then you’ll be the richest of us all, I tells ya.
Then maybe one day you can afford
to take a ride on the merry-go-round
of solid gold. Only one ride though,
are you crazy? We’re not running a charity here.
Or perhaps it would be easier to imagine that we are,
if that’ll help you sleep at night. Anything
to shut youse up for a couple hours, you’re exhausting.
Now go play with the TV in the other room for a while,
and try not to get electrocuted like last time.
Improvisation without representation is definitely authorized in this club, though I don’t quite know how it’s supposed to be accomplished (at least without some corporeal manifestation hanging around on this mechanical rotating clothes rack we call the universe).
First off, you’re supposed to “yes, and” the opposition into submission as often as possible, which typically would require a physical body in space and time. However, perhaps a physical body needn’t be required if we piped a nice [tinny] audio stream into the room as the live interaction winds itself down.
But that all goes without stating the obvious: if the instigator of improvisational inquiry has no chunky terrestrial body of which to speak, then why should the foil of the piece remain a solid entity? That just puts the burden on them, don’t you see? Having all of those internal organs thinly covered by what’s basically just a fleshy layer of napkins (and not the two-ply kind)… it’s dangerous! I won’t stand for reckless endangerment in the name of creativity.
Of Nice and Men is a snappy, genre-driven play predicated on your typical hero’s journey through the heartland once regarded as antiquated–cornball, even–in the pseudo-sophisticated shadow of a cultured society we’ve been thrust into by the more majorly militaristic manchildren among us (trading individual liberties for big boy toys and candy).
Since we occupy an epoch where modern delineation truly has strangled the life out of chronological concerns (that is to say we’ve had our fair share of allegorical parallelograms in our time, no doubt about that, no siree), if you find yourself charged with taking in this three-hour beauty, you can–and should–simply attend the theatre as a pilgrim of the arts, allowing yourself to become awash in a different reality, even if only for a glimmering moment.
Other than the obvious sociological implications afforded to us by the title, you’ll be pleasantly surprised by the tap dance sequences that pop up seemingly from out of nowhere (even though I’ve just spoiled the twist for you, but you pay that no mind). In a nutshell, this tour de force pits Americana versus whimsy at the intersection of Leap and Gamble Avenues.
For all my field trip aficionados out there, I recommend bringing a schoolbusful of primary school students to see the Wednesday matinee, as tickets for 12 and under are free.