No contemporary politics. We aren't interested in plays about modern political issues or figures. For example, David Hare's very successful play Stuff Happens presents us with Bush Administration figures standing around onstage talking about terrorism and war, for three hours. We're supposed to be impressed that much of the dialogue is taken verbatim from their actual Oval Office discussions. To paraphrase the great Truman Capote, that's not writing, that's just cut-and-pasting.
A historical political play, on the other hand, would be more likely to interest us. But even then, a dry essay on Warren Harding's political misdeeds would bore us just as dreadfully as one about Bush's.
No preachy social issues. There's an unfortunate trend these days towards shorter, simpler, smaller-scale plays that invoke certain buzzwords that look good on certain kinds of grant applications. And so we're seeing more and more plays that consist of just two or three characters (or even just one monologuing his or her heart out) on a minimal set, talking about "relevant social and political issues." If you ask me - and I know you didn't - that kind of "Theatre of NPR" jazz is about as interesting as watching a staged reading of transcripts from the Congressional Record.
Kia Corthron's Trade (one of the 2007 Humana Plays) consists of two women, one of whom is an American wearing a burqa as a form of protest, sitting around talking about politics in the Middle East. And that's it. I'm Not kidding. According to the Feminist Spectator's review of the show, "Corthron crystallizes issues of identification and empathy that overshadow our involvement in Iraq and Afghanistan, the politics of the Taliban, and the detentions at Guantanamo".
Well, that's just great. If I wanted to watch CNN, I would have stayed at home and done so.
