And somehow, while your narrator was drinking his own beer, we’ve managed a segue into Sarah Kane’s Blasted …
DL: the theatre version of locking everyone in a gallery and making them break the glass to get out is Artaud, it’s Blasted, which puts your body in a totally different situation – you sitting there. Would you rather have some kind of Clockwork Orange thing where you were forced to watch these horrors, or would you rather just pay your money outside?
M5: But Blasted is a great play! You’re talking about the graphic high points, but it’s a great play with all kinds of subtleties.
M4: We’re thinking on a small scale – for one all these performances are sanctioned. I mean, NYTW’s gesture with doing the Churchill play is their public penance for pulling Rachel Corrie, which is the most important piece of political theatre –
M4: Right, non-theatre, but it’s the most political theatrical act in the last 5-10 years.
CW: I also think NYTW is preserving their relationship with Caryl Churchill, too.
M3: That also re-enforces the institutional inertia.
DL: And that’s where you start wondering about the politics about actually making theatre itself.