The American Clock
May. 8th, 2007 10:55 amI saw The American Clock (Arthur Miller) at the Huntington (well, Studio 210 next door) this weekend. It's a depressing play*, being about the Depression from just before the crash in 1929 through the many desperate years until the beginning of WWII turned the economy around. I don't think I've seen that period portrayed so vividly before, showing people in New York who lost everything in the stock market and subsequent bank failure (and one who saw the warning signs and got out in time), Iowan farmers who lost their farms for pennies on the dollar, how barter became a way of life for many as money became infrequent.
I wonder whether I would have survived those times. It made me understand more my father's attitudes towards money, definitely.
The stage area was technically a thrust stage, but the audience was small enough that no one ended up in the side seats. That meant I had a good view of the CCC-style paintings along the side walls. The action happened in the thrust part of the stage; the back was filled with period-appropriate stuff (some props, some not), including costume changes for the actors who each cycled through a number of roles, which worked.
It was interesting to see the two views of what happened and how the country pulled out of it. The pragmatist, the one who saw the signs and preserved his wealth, based it all on stuff, orders that did or didn't happen, factories producing or not, and so on. Everyone else seemed to ride the wave of belief and emotion, that the stock market could go sky high without the numbers to base it on, that it would all come back 'soon', that the turnaround happened because people re-found their belief in the country. I think the pragmatist was mostly right, but emotions play a role, too.
* Not the most depressing I've seen; Horton Foote's 1918 (WWI, questions of patriotism, and an epidemic) was more of a downer, for instance.
I wonder whether I would have survived those times. It made me understand more my father's attitudes towards money, definitely.
The stage area was technically a thrust stage, but the audience was small enough that no one ended up in the side seats. That meant I had a good view of the CCC-style paintings along the side walls. The action happened in the thrust part of the stage; the back was filled with period-appropriate stuff (some props, some not), including costume changes for the actors who each cycled through a number of roles, which worked.
It was interesting to see the two views of what happened and how the country pulled out of it. The pragmatist, the one who saw the signs and preserved his wealth, based it all on stuff, orders that did or didn't happen, factories producing or not, and so on. Everyone else seemed to ride the wave of belief and emotion, that the stock market could go sky high without the numbers to base it on, that it would all come back 'soon', that the turnaround happened because people re-found their belief in the country. I think the pragmatist was mostly right, but emotions play a role, too.
* Not the most depressing I've seen; Horton Foote's 1918 (WWI, questions of patriotism, and an epidemic) was more of a downer, for instance.