What Goes Around Is Always Coming Back Around

Life can be painful. Live theatre can be as well.

Now that we’re into rehearsals for the stage reading of Puta Wijaya’s play OH, it’s both gratifying and terrifying to discover that my initial thoughts about the piece being timely and universal are correct.

An event poster with a black background and orange and white accents, advertising a free staged reading of a play from Indonesia titled "OH".
At the top, orange text reads "A FREE STAGED READING · SEASON 16". Below it, the word "INDONESIA" is boxed in orange, sitting just above the large, white, bold title, "OH".
The credits below the title read "BY PUTU WIJAYA", followed by "TRANSLATED BY COBINA GILLITT · DIRECTED BY WARNER CROCKER" in slightly smaller white text. Two orange-outlined buttons below read "FREE TICKETS" and "RECEPTION TO FOLLOW".
A central paragraph provides a synopsis of the play:
"The Young Attorney arrives to fulfill his father's request, but he comes not as a son, but as an ambitious lawyer seeking his mentor's opinion on a case: defending a drug dealer facing two death sentences. What becomes clear is that it is the Young Attorney's ghost who arrives, apologizing and confessing that he now understands he was wrong. When he last visited his father, he should have come not as an arrogant lawyer, but as a son. But all of that has already happened. Nothing can be done to fix it."

That of course what’s makes a good play, a good story. It also makes for a constant reminder of how little attention we pay to the stories we tell and repeat.

Wijaya’s work began as a short story that was originally published in 2003, and was then adapted by him in 2018 into what he calls a monodrama, meaning a one character monologue. It’s set in Indonesia. But the words spilling out his thoughts could easily have been written about the U.S lately.

Here’s an example:

I’m stepping into the struggle for justice in this impotent toothless tiger of a country which, instead of using what’s left of its strength to fight, lazes around enjoying itself. Oh! This is insanely embarrassing. It just doesn’t make sense. But this is reality. Our reality! The older generation slacks off, the younger generation jacks off. People are racing to dig their own graves.

And another:

Not like those other lawyers these days who are mostly about making deals, or those elites and intellectuals who shine when they are powerless, but who, from their new seats of power, become more…(Louder) violent, greedy, materialistic, merciless, and despicable once they get the opportunity to trample on justice and truth they once idolized.

Working with IVP is one of the gigs I return to eagerly. Working with plays from far away places and different cultures, always, in the end, proves over and over again that at the core, we’re all the same. Though our life experiences may differ, they really aren’t.

I used the word terrifying in the opening of this post because you’d never know that this play wasn’t written about what we in the U.S. are living through currently. I also say that because regardless of where we’re from, or the horrors we endure, we never seem to learn how the wheel always turns and comes round again.

Life can be painful. Live theatre can be as well.

You can also find more of my writings on a variety of topics on Medium at this link, including in the publications Ellemeno and Rome. I can also be found on social media under my name as above. This site does not use affilate links. 

 

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Author: Warner Crocker

I stumble through life as a theatre director and playwright as well as a gadget geek...commenting along the way. Every day I learn something new is a good day, so I share what I find exciting, new, stupid and often worthwhile.

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