Pascale Smith on BASH by Neil LaBute

BASH director Pascale Smith

Neil LaBute is not one to shy away from the darker aspects of life. Bash: Latter-Day Plays illustrates the evil inherent in everyday life through four characters: a charismatic young business man, a disturbed mother, and a beautiful couple. Each character confesses to a horrible crime, and while the events recounted are violent and shocking, the most terrifying aspect of each scenario is its plausibility. The characters are so realistic and ordinary that they create an unsettling intimacy with the audience, both physically and dramatically, as they address the audience directly in a small, bare theater.

Neil LaBute studied theater at Brigham Young University, a college in Utah owned and operated by The Church of Jesus Christ of the Latter-Day Saints. While at BYU, he converted to the Mormon faith. He then went on to write numerous plays that pushed the envelope in terms of what was accepted in such a conservative religious school. Some of his plays were shut down after their premiers. On one occasion, college authorities locked the theater to prevent a performance. In BASH, his depiction of three essentially good members of the Mormon Church committing violent crimes got him “disfellowshipped” from the church, after which he formally abandoned his relationship with the faith.

This play is one that will make you think. Each character gives you a human face to the monsters shown in news stories—the person who attacks another based on ethnic, religious, or sexual differences, the parent who kills their children, the person who chooses to sit back and watch these crimes manifest. This work makes you wonder—are we all capable of excusing an atrocious act?

Pascale Smith, August 14, 2011

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BASH

17-year-old Pascale Smith directs and co-stars.

Calla is in the process of casting, directing, and acting in her first Philadelphia Fringe Festival show: a production of Neil LaBute’s BASH. It’s a full-length play comprised of three one-acts. “Iphigenia in Orem,” recreates the Greek myth from the perspective of a Utah businessman– with a chilling twist. “Medea Redux” is exactly what the title suggests– a troubling, modern interpretation of Euripides’ tragedy. ”A Gaggle of Saints” is a set of interwoven monologues by a pair of Mormon college sweethearts who travel from Boston to Manhattan for a fancy party– a bash. The title “BASH” takes on literal and horrifying overtones as the evening progresses in two very different directions, his and hers. BASH premiered in 1999, a year after the murder of Matthew Shepard, and three years before the premier of Moisés Kaufman’s The Laramie Project. By comparison of scale, BASH is a parlor piece, four monologues in three acts, split among two actors. Its power comes from its unflinching gaze into the heart of evil and hypocrisy. No contemporary audience member will be able to watch BASH without holding the other play in mind.

At least, that is my opinion having just finished reading the play, but never having seen it performed. When Calla told me that she wanted to launch a Fringe production (actually, she will be doing two this season, as she is also participating in her sister Lauren’s aerial acrobatics show “AMPERSAND”– but more on that later) I didn’t question her choice of material. I even went so far as to help her register the project, secure a venue, and initiate a casting call before finding time to sit down and read the play. It was only yesterday, when I had to create some website and ad art, that I realized I would need to know more about the content of the production.

As far as the literary value of the play, on paper its structure is seamless and resonant. The dialogue on the page is stylized (all lowercase, and punctuation is often missing or eccentric), but I can hear the voices in my head. It’s a small piece to stage, but a huge role for each of the actors. Calista Flockhart played the female roles in the premier production at New York’s Douglas Fairbanks Theater. Research tells me that the production was recorded for cable TV, but I can’t find it, not even on YouTube. So I guess Calla’s performance will be the first I’ll see. I saw her perform the role of the Stage Manager in Our Town last summer at Stagedoor Manor, and I liked her even better than Helen Hunt when we saw her a few weeks later at Barrow Street. My instincts tell me to trust her.

The website I made for her production is http://www.rilesmith.com/BASH/.

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Distance (The Tragical Story of Elliot Hunnicut)

When writers speak of “psychic,” “authorial,” or “narrative” distance they mean the space that the reader feels between herself and the characters and events in the story.

A simple analogy for psychic distance is the lens of a movie camera. Imagine the opening sequence of a film: The first view is shot from a helicopter. We see a panoramic scene of hills, trees, houses. Zoom a little, and here is a particular house. Closer, through the window, a room with people in it. Closer, the camera identifies a single subject among the crowd: a young boy sitting on a braided rug. Closer, we see his face. We see his eyes. Now, we are seeing through his eyes.

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