Books: Tynan on Theatre: Part I

Tynan on British Theatre:

            Perhaps because it was written in the 1950’s, or because it was taking me awhile to really dealve into the genius of this book, but I found I did not enjoy his first two reviews. I can say with some certainty, though, that this was because I was not familiar at all with the plays discussed. I did find that when he mentioned actors, directors and playwrights that I was familiar with, I was able to appreciate what was being said much more. However, by the third review, I was feeling familiar with his writing style and drawn in by his perceptive and prophetic musings.

            There are many fine plays that are reviewed within this volume, but there were a few in particular that I wanted to focus on. Or rather, a few particular reviews of plays that I wanted to focus on.

            A title that almost every young aspiring drama student learns about, or hears about before the age of 18 would be Waiting for Godot by Samuel Beckett. This play has become such a staple, deemed a ‘classic’ and ‘essential’ text within contemporary theatre, that I believe we sometimes forget that at one point in time, it was brand new. I remember learning about this play in my “Modern Dramatic Impulse” class, as a sophomore, I read it, had heard about it, and while I had didn’t necessarily love it at the time, I respected it as a ‘classic’.

What I love about reading Tynan’s review of an early production of this play is the lack of any stigma or glorification that can surround the piece today. He touches on its success in Europe, gives it credit where it is due and speaks about the play honestly for what it is: absurdist drama. Such memorable quotes that come to mind are:

“Pity the critic who seeks a chink in its armor, for it is all chink. It has no plot, no climax, no dénouement; no beginning, no middle, and no end.”

And that sentence is just an observation, he is telling his readers about the play, we haven’t come to the real critique yet. I could speak about his thoughts, but I’d rather talk about his conclusion about the play, “It is validly new...” and with this, he teaches us the importance of an open mind in art.

Many other great works are spoken of, some titles in particular that you may recognize would be: Look Back in Anger, The Entertainer and Eng-Game. There are many others that should be known, and after reading this, I intend to become familiar with. I don’t want to bore anyone with speaking too much about the actual reviews, and more about the compilation.

            While his reviews of specific productions are enlightening, he also writes about movements in drama that he is noticing. My particular favorite within this section was “The Angry Young Movement,” in which he speaks of England’s particularly upset young playwrights. He speaks of playwrights of the time, such as John Osbourn (Look Back in Anger), and writers like Colin Wilson with his “apocalyptic best-seller about the necessity of being and “outsider.’” It’s an essay focusing on these young men; these wannabe socialists who, while exploding with talent, lack true direction and just seems filled with this anger that, without some focus and backing, will never enact actual change, if change is what they seek.

Personally, when I read this I was reminded of a play entitled Saved, written in 1965 by Edward Bond. A play I actually witnessed in England, while I was studying abroad. At the time, in October 2011, it was actually considered to be quite a monumental occasion, for the play had not been performed in the country for over 20 years. If you have read the play, you might not actually find yourself objecting to that hiatus. The play focuses on the poor, and their horrible, filthy lives that never change because life is an endless cycle, in which nothing changes and the poor stay poor, and the rich remain rich.

            Other than contemporary classics in their beginnings, and writing on social trends in theatre, I actually found more joy in how Tynan wrote rather than his subject matter. Oh the man is a genius, and everything he says is filled with infinite knowledge. But you can find just as much entertainment and joy in his wit, than even perhaps the subject matter. I found myself laughing, even when I wasn’t entirely familiar with the play or playwright because Tynan has such a great way of entertaining while analyzing and critiquing.

           Next time we shall expound upon Tynan on Shakespeare.