I think it was the Steppenwolf fan non-fiction biography that put me in the mood to read some plays. I saw the first, In the Red and Brown Water, at the Guthrie in Minneapolis. I could tell then that there was something new and exciting about this playwright, though I can’t claim that I forecast his being the source for something like the Oscar-winning film Moonlight. Like Suzan-Lori Parks, he is playing with what to me are conventions of drama. There are multiple occasions when he simply puts the name of the character in the script. For example (from the third play, Marcus) –
How, as a director, are you meant to honor that on stage? Should our focus shift from one to another? Does this anticipate McCraney’s camera eye? The camera, in this case, should move from Marcus to Osha to Shua?
McCraney also has the characters narrate their own stage directions. From In the Red and Brown Water –
She wanna be friends with us?
Smiling like the light of the night.
Note that ‘smiling like the light of the night’ is neither italicized nor is it in parentheses. There is, in fact, no real spacing between the two lines. Elegba is meant to say the words.
I think it’s cool.
The stories, the first two of which are set in the ‘Distant Present’ and all of which are set in a fictional bayou town in Louisiana, are filled with water. There is a coming storm. There is also unnerving dream that is filled with water. There are multiple intertwined generations. There is love of all kinds. There is even a character named Terrell in Marcus. Granted, it’s spelled differently than the author’s name, but it’s an interesting choice, especially since the character is not such a nice guy. The stories are not so much the calm before the storm as the tension between the calm and the actual storm. I hope that someone decides to produce all three plays together.