Analysis
Terrence McNally's early plays reflect a unique confluence of avant-garde theater influences and the anxieties of the Cold War era. Known for his sharp wit, McNally critiques societal norms with a mix of absurdity and biting satire. His works from this period explore themes of family dysfunction and individual alienation, culminating in a blend of humor and existential despair.
And Things That Go Bump in the Night
McNally's first major play, And Things That Go Bump in the Night, typifies his early thematic preoccupations with a portrayal of a bizarre family living in a basement, estranged from society. The play channels elements of absurdism in the vein of Samuel Beckett and Arthur Kopit, delivering a scathing critique of modern values distorted by societal pressures. In this chaotic narrative, Clarence, the only "normal" character, becomes collateral damage in the sadistic games orchestrated by the domineering Ruby and her children, Sigfrid and Lakme. Their mockery of family members, such as the grandfather headed for an asylum, underscores a chilling decay of love into mere carnal perversion, care into indifference, and respect into mockery. Critics, albeit hostile, acknowledged McNally's embrace of black comedy, even as his technique—marked by non-sequiturs and eclectic references—invited perplexity.
Next
Among McNally's one-act plays, Next stands out as a satirical take on the Vietnam War's impact on American values. The play humorously follows Marion Cheever, a middle-aged theater manager mistakenly drafted into the army, as he undergoes a humiliating induction examination. Despite his efforts to evade enlistment, Cheever's ordeal highlights the impersonal and dehumanizing nature of bureaucratic processes. His monologue, a parody of his military examination, becomes a scathing critique of societal standards and their often absurd enforcement.
Bringing It All Back Home
In Bringing It All Back Home, McNally revisits the theme of a dysfunctional family—this time grappling with the death of a son in Vietnam. The play captures the family's inability to mourn, as the son's death is treated with indifferent detachment. Through the sibling rivalry and parental ineptitude, McNally paints a portrait of a family numbed by daily horrors. The arrival of a television crew, eager for a human interest story, only amplifies the family's shallow responses and underscores their moral vacuity.
Sweet Eros and Witness
The late 1960s and early 1970s saw McNally tackling societal complacency in works like Sweet Eros and Witness. In Sweet Eros, a man's abduction of a woman becomes a metaphor for society's silent complicity with evil, as her initial resistance gives way to docility. Witness similarly explores passivity, with a salesman bound by a would-be presidential assassin who seeks validation for his sanity. Both plays challenge audiences to confront their own roles in perpetuating indifference.
Bad Habits
McNally's one-act pair Ravenswood and Dunelawn, collectively known as Bad Habits, satirize contrasting approaches to treating asocial behavior. At Ravenswood, Dr. Pepper permits patients all manner of indulgence, while Dunelawn's Dr. Toynbee relies on drugs and restraints. Through these microcosms of authority, McNally critiques superficial solutions to deeper social issues, highlighting the inadequacies of both permissive and repressive systems.
Where Has Tommy Flowers Gone?
McNally's full-length play Where Has Tommy Flowers Gone? marks a departure from his one-act format, employing epic theater techniques reminiscent of Bertolt Brecht. Through episodic flashbacks, the play follows Tommy, an anarchist seeking to upend art institutions, as he navigates a world devoid of meaning. McNally weaves a complex narrative tapestry that blends humor with a critique of societal phoniness, embodied in Tommy's iconoclastic antics.
The Ritz
In the farcical The Ritz , McNally explores themes of mistaken identity and comedic chaos within...
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a New York steam bath for homosexuals. Protagonist Gaetano Proclo's flight from his vengeful brother-in-law sets off a series of humorous misadventures, involving an eclectic cast of characters. This high-energy farce, with its rapid-fire pace and witty dialogue, represents a shift in McNally's focus from acerbic social critique to pure entertainment.
The Lisbon Traviata
With The Lisbon Traviata, McNally returns to more serious thematic exploration, examining the dissolution of a relationship between two homosexual men. Drawing on his love for opera, McNally juxtaposes the passion of music against the backdrop of emotional turmoil. The first act's humor gives way to a poignant second half, highlighting the complexities of love and loss in a nuanced and empathetic portrayal of human relationships.
It’s Only a Play
In It’s Only a Play, McNally humorously exposes the pretensions and anxieties of the theater world. Set during an opening-night party, the play skewers the egos and insecurities of those involved in a Broadway production. As the characters await critical reviews, McNally offers a biting commentary on the fickle nature of success and the pressures of artistic creation.
Frankie and Johnny in the Clair de Lune
Frankie and Johnny in the Clair de Lune showcases McNally's ability to create deeply personal and introspective narratives. This two-character play focuses on the evolving relationship between Frankie and Johnny, whose differing views on love and commitment play out in a tender yet comedic dance. McNally's exploration of love and vulnerability is both lyrical and resonant, reflecting the complexities of intimate human connections.
Lips Together, Teeth Apart
Set against the backdrop of Fire Island, Lips Together, Teeth Apart depicts two married couples grappling with personal and collective turmoil. McNally interweaves themes of infidelity, familial loyalty, and societal perceptions, as the characters navigate their intertwined lives. The play's humor and poignancy emerge through candid dialogue and the characters' inner monologues, revealing the fragility of human relationships.
A Perfect Ganesh
In A Perfect Ganesh, McNally crafts a narrative rich in symbolism and cultural depth. Through the journey of two friends in India, the play explores themes of grief, guilt, and self-discovery. As they confront their pasts and present realities, McNally uses the mythical backdrop of Ganesha, the elephant-headed god, to illuminate the transformative power of forgiveness and understanding.
Love! Valour! Compassion!
In Love! Valour! Compassion!, McNally orchestrates a symphonic exploration of love and mortality among a group of gay men. Through their interactions during a series of summer retreats, he examines the intricacies of companionship, infidelity, and terminal illness. The play's blend of humor and pathos underscores the enduring human desire for connection in the face of life's inexorable challenges.
Master Class
Returning to the world of opera, Master Class portrays Maria Callas as a demanding yet vulnerable mentor to aspiring singers. The play delves into Callas's personal reflections as she instructs her students, revealing her struggles and triumphs. McNally captures the essence of artistic dedication and the intersection of personal suffering with creative expression.
Corpus Christi
With Corpus Christi, McNally revisits his early polemical style, reimagining the life of Jesus in contemporary Texas. In this provocative piece, McNally draws parallels between societal persecution of gays and the historical narrative of Jesus, challenging audiences to reconsider preconceived notions of divinity and identity. Despite mixed reviews and controversy, the play reinforces McNally's commitment to exploring bold themes with emotional resonance.