'Night, Mother

Considering the Major Dramatic Question of Marsha Norman’s ‘Night, Mother is no easy feat. The question of whether Jessie will kill herself would seem to be the obvious choice. However, in my opinion, ‘Night, Mother is more than a play about suicide: it’s a play about a mother and daughter’s struggle to make a connection. So, I propose that the major dramatic question of the play could be, “Will Jessie and her mother make a connection?”

Making a connection can entail several things. First, this includes Mama’s struggle to understand why Jessie has to leave. At first Mama can’t fathom why Jessie would plan to kill herself if she feels fine and rational. Mama later blames herself, still not understanding her daughter’s rationale. However, at the end of the show, Mama seems to have a clearer understanding of why Jessie did it. She says, “I didn’t know! I was here with you all the time. How could I know you were so alone?”

Making a connection can also include the Mama’s struggle to accept Jessie’s wishes. At first Mama is vehemently opposed to Jessie’s plan. Until the end Mama does everything in her power to make Jessie stay. However, after Jessie kills herself, Mama obeys Jessie’s last wishes by calling Dawson and grabbing the chocolate pan that Jessie wanted her to wash. Earlier in the show, Mama refused to wash the pan, but at the end, she seems to obey Jessie in resignation.

In my opinion, Mama’s struggles to understand Jessie’s decision and accept her wishes are the emotional core of the 'Night, Mother. These two struggles show the MDQ at work and drive the show forward. The entire purpose of Jessie’s telling her plan to her mother is to make a connection with her. Jessie says, “It’s private. Tonight is private, yours and mine, and I don’t want anybody else to have any of it.” Without this desire to connect, the play would be significantly shorter or not exist at all. 

Glaspell's Trifles

When I visualize a minimalist production of Trifles, I see some things that could be lost, but much more that can be gained. The main thing that would be taken away from Trifles would be…the actual trifles. It might help the audience to see the baubles and trinkets, the minute details with which the women occupy themselves. Another possible drawback of a minimalist production is that it may put off some audience members, keeping them from forging a connection with the words and people.

However, I personally think that a bare set and costume design could add much to the play. For one thing, the stage is a representation of the kitchen, the women’s sphere of influence. When the audience sees the kitchen as a blank space devoid of interest, they are seeing what the male characters see. The men dismiss the idea of investigating the kitchen, essentially ignoring the women’s domain.

As the women inhabit this bare space, they must find interest in it. Minnie Foster’s life is dull and lonely, so she must create her own mental landscape. As Dorothy Parker said (via Dr. Flecter), “The cure for boredom is curiosity.” Minnie and the women have to invest curiosity in the space they. Forcing the audience to use their imaginations will force them into the women’s minds, hopefully helping them relate to the characters.

There is one suggestion I would make concerning the props. If the director decides to actually show the canary, I would suggest making the canary red. The bright crimson would stand out beautifully against the black and white. It would also show that the bird is the one thing that could inject vigor and life into Minnie Foster’s world.

In the end, I’m not sure which type of production would be better overall. I personally would like a chance to see both.

Laura's Comments

This post is for keeping track of the comments I leave on other people's posts:

Silence Will Fall When The Question Is Asked--Trifles

Margaret's Adventures Through Plays--Overtones

Shakin' Down & Breakin' Down Doc Fletcher's 'Play'list--4000 Miles

Shakin' Down & Breakin' Down Doc Fletcher's 'Play'list--Judith

Silence Will Fall When The Question Is Asked--Judith

Shakin' Down & Breakin' Down Doc Fletcher's 'Play'list--'Night, Mother

Gerstenberg's Overtones

When I read Gerstenberg’s Overtones, the concept of the inner and outer self as separate entities resonated with me. It is interesting to see how Harriet/Hetty interact with Margaret/Maggie and within themselves. Even though Maggie and Hetty, the inner selves, address each other in the stage directions, it is unclear to the audience/reader whether they are can hear each other. Since they do not seem to react to each other (for the most part), the audience can assume that they are not capable of interacting.

The inner selves only appear to interact on an obvious level at the climax, only after the dialogue among all the characters becomes more frequent, choppy, rushed, and excessive. Maybe these conditions caused the inner selves to lapse into a heated confrontation, possibly bending the rules of their world.

The only place before the climax in which the inner selves appear to hear each other is on page 211. Hetty says, “I don’t believe you were ever in Turkey.” Maggie replies, “I wasn’t but it is none of your business.” This quick exchange seems to be a slip of the apparent rules. However, this moment passes so suddenly that the audience may not catch its significance. Those who do catch this moment have their questions answered in the climax when Hetty and Maggie openly confront each other.

It is also interesting to note that even though the inner selves can interact, they don’t seem to relay any of this information to their outer selves. After the confrontation, I wonder if the inner selves can tell the outer selves what the other person truly feels. My guesses are that (A) they will be incapable or unwilling to tell the outer selves, or (B) they will tell the outer selves, but they simply won’t care or already know. OR there could be a bizzare option (C) that the inner selves were destroyed after their (literally) unveiled display of emotion, which appears to be taboo, even for the inner selves to some extent. Since Maggie and Hetty disappear when the lights come up again, it makes you wonder…theories, anyone?

As for overall thoughts, the concept of the inner and outer selves as represented by two different actors was an interesting decision. I also found the script fascinating to read. However, I’m not sure if this concept would play out awkwardly on stage—especially if the audience doesn’t catch the conventions of this world. At the same time, I’m not sure if this work would translate to another medium, such as a short story. The representation of the inner and outer self as two different actresses with significant costumes is, in my opinion, essential to the work.

Well, that’s about it. So let me know your thoughts or questions concerning Overtones or this post. And bizarre theories concerning the fates of Hetty and Maggie are welcome. So, this is Laura G., finishing up on my first blog post ever (woo hoo)! Until next time!