Judith by Howard Barker

This play was WEIRD! But through all of the quirkiness I was able to narrow the scope to a Major Dramatic Question of "will Judith regain power?" This is a simple MDQ, yet a very relevant as control is a very dominant issue in this script. With her initial intentions of murdering Holofernes, the question of will she actually kill him is obvious as stated in the prompt. There are many different moments in the script that support the MDQ of "will Judith regain power". One example is Holofernes' beheading, followed by the act of necrophilia. When Judith begins to fall in love with her target she begins to reveal a softer, more subtle side. Her power begins to diminish as her heart becomes involved. This is only altered by the deed of murdering Holofernes. By killing him and participating in intercourse with his corpse, Judith is reclaim her power and obtaining control of her emotions. Also, the entire idea of a servant is a position of power and control. The back and forth shift of power between Judith and the servant shows Judith's struggle of power and control not only with said servant, but within herself. This adds weight to the question "will Judith regain power" as we as reader's (for a while) aren't quite sure. The beheading of Holofernes sparks the rebirth of Judith's dominance. She uses her servant as a stepping stone to top. The play ends with Judith having gained control for her country Israel and for herself over her servant.

Night, Mother by Marsha Norman

Night, Mother  was a very heavy script to read in terms of the context and storyline of the play. With a topic as "difficult" as suicide, one can only imagine what sitting through a live production would be like. Nonetheless I found the script to be pretty good. If I were to be hired as the dramaturge for this play I would have to disagree with the director in terms of the Major Dramatic Question. Even though the play ends not long after Jessie kills herself and the question as to "will she actually follow through with the act" is answered, I feel as though the MDQ is much deeper than the obvious. Jessie spends the entire play preparing herself and others for what is to come after her death. It is almost as if it is destined to happen and no one, not even her own mother, can stop her. Instead, I believe that the MDQ in Night, Mother is "will Thelma ever understand Jessie?" In a one act play Norman was able to summarize years of stress and strain and miscommunication that caused a rickety relationship between mother and daughter. The MDQ is heightened once Jessie reveals to Mama that she plans on killing herself. Though Mama doesn't quite know to show her emotions towards her daughter, she fights to come to the meaning as to why Jessie would ever consider such a thing. Thelma pleads with her daughter for answers and then retracts in a continuous cycle. With the constant switch of Mama's emotions towards Jessie's decision I feel as though "will Thelma ever understand Jessie" is the MDQ. The whole script Jessie just wants to be heard, understood, and respected. It is sad that it took Jessie's drastic measures to make Mama understand that all she wanted was to be listened to.

Thelma: Jessie, Jessie, child … Forgive me.
(A pause.)
I thought you were mine.
(And she leaves the door and makes her way through the living room, around the furniture, as though she didn't know where it was, not knowing what to do. Finally, she goes to the stove in the kitchen and picks up the hot chocolate pan and carries it with her to the telephone and holds onto it while she dials the number. She looks down at the pan, holding it tight like her life depended on it. She hears Loretta answer.)
Loretta, let me talk to Dawson, honey.

When Thelma finally respects Jessie's wishes the play ends.

Trifles by Susan Glaspell

If Trifles by Susan Glaspell was proposed to be mounted as an LSU lab show, but with a very minimalist design, it may actually add creative freedom to each individual audience member. I think that without definite colors, styles, patterns, etc. to the set and costumes the production will be more "abstract" (as used in the prompt) and relieve the show of boundaries.

I think it is easier to visualize and still enjoy a stripped down show as someone like myself who has never seen a live production of Trifles, but have only read the script and imagined it. Much easier than someone who has sat in the audience of a fully mounted naturalistic production. A show with an "empty" set will indeed leave the audience to concentrate on the acting, language, and emotion. 

I think that a production of Trifles with no physical and visible props can enhance the idea that only Mrs. Hale and Mrs. Peters can see the clues and link the crime to Mrs. Wright. However, for some audience members it would make it difficult to understand and to stay engaged in a show with such circumstances. I also agree that a minimalist version of the play may take away the "murder mystery" idea. A very elaborate and, possibly, cluttered set could engage the audience in a hidden picture idea and give the affect that they too are trying to pick out the clues and answer the question as to if Minnie Foster is guilty of murder and why.

I think either production choice could be a huge success if properly planned. The amount of detail, or lack there of, must be planned to the T as there are no "accidents" or "coincidences" in the world of the play.

Overtones by Alice Gerstenberg

Overtones is a short and sweet script that I feel was a great was to kick off the semester. Alice Gerstenberg has made her way onto my list of loved playwrights. With the characters of Harriet and Margaret, and their primitive selves Hetty and Maggie, Gerstenberg definitely broke the rules or conventions of the normal (for lack of better words). Gerstenberg uses Hetty and Maggie (Harriet and Margaret's conscience) to own a physical body that can not only be heard, but seen by the audience. I think this was a brilliant move as it allowed us as an audience to better comprehend their relationship and inner struggles. The "if, when, where, and by whom a character can be seen/heard" relies heavily on the text, costume choices, and stage directions. The text and conversations show the direct relationship between the physical and conscience selves of each character. One who is privileged to read the play can see "cultured woman" and "primitive self" indicating the difference between the two. However, and audience who cannot read the play but may perhaps be watching a production of Overtones are introduced to the relationship by the opening of Act I as Hetty says, "Harriet. Harriet, my other self. My trained self." This also applies with the color coordination of costuming linking the cultured self to the primitive self.

The relationship between Harriet and Hetty (and Margaret and Maggie), because it is a conscience self, can only be heard. Harriet and Hetty can hear each other, but cannot see or touch one another. Nor can the primitive selves of Hetty and Maggie see, touch, or hear each other, but can only communicate through their cultured selves of Harriet and Margaret. There are very few moments where this created boundaries seem to be breached and it is questioned if Hetty and Maggie can actually hear each other, or that their conscience mines are only assuming the true reactions beyond what their cultured selves are trying to portray.

I thoroughly enjoyed this play.