THEATER AND MORALITY

by Cecilia Kurachi, Guest Contributor

Theater and morality are not synonymous terms. They’re not concepts or words we tend to associate with one another. As a matter of fact, when we think of theater, we usually think the complete opposite of morality. We think production value, and entertainment. We think escapism and we might even think lack of realism all together, as theater tends to be an ostentatious form of reality when presented in its most theatrical state. But when we take the time to look beyond its flashy façade, theater can provide us with so much more. It can educate us and challenge us, reveal stories and inspire new ones, promote change and encourage creativity but above all else, theater can give us a platform to reflect. Everybody, a play written by Branden Jacobs-Jenkins, is a reflective piece of theater, a poetic exchange of dialogue and in its purest form, a true example of a morality play. Based on the original 15th century morality play Everyman, this modern-day adaptation thematizes God and Death in a seamlessly metaphorical way and a uniquely interwoven sense of comedic satire.

In its simplest form, a morality play is a metaphorical play. A play in which the main character symbolically represents a flawed aspect of human nature and is challenged by a higher power to assess the span of their life. In Everybody, our higher power takes the form of God and Death, as they summon an average person or a “somebody” to face two of life’s greatest mysteries – dying and living. In the production you are seeing tonight, our protagonist is picked at random, which in and of itself, epitomizes our own realities: that living and dying is not a choice, but rather an accidental opportunity, presented to us by chance. In the span of 90 minutes, our title character is challenged by the allegorically represented facets of their life like Love, Time, Friendship, Strength, Material Things and many more. These metaphorical characters and interactions alike, accentuate Everybody’s flawed persona and reveal an overarching lesson: that life is not about the things we take with us, but rather a collection of the good we leave behind. Morality plays date back to 15th century medieval England, when theater was used to educate the masses on Christianity and Christian values. These plays complete a 3-part trilogy of the vernacular drama framework, a term used to define the shift between the language of the church (liturgical) and the language of the people (vernacular). These types of plays (Miracle, Mystery and Morality), typically referenced biblical stories and were largely characterized by allegorical figures, representing notions of good and evil. Their role served to demonstrate an overarching theme: that human beings are always looking for salvation in a life full of temptation.

Over time, these plays began to shift, embracing contemporary attributes in language and style. During the 16th century, the City of London began to censor morality plays all together, as their shift in language was seen as an abomination to the church. This posed challenges for creatives looking to perform and tell stories. Eventually, thespians and theater makers alike found refuge in the outskirts of the city, specifically in Bankside (or “Southbank”), a metropolitan strip of London where censorship was not allowed at the time. As a result, actors and artists opened playhouses throughout the area and began to produce their own work. The creation of playhouses nurtured more theater, welcoming new and existing artists (William Shakespeare, among others) and inspiring creative entrepreneurs to open new venues. One of the most popular theatrical venues to be erected during this time was the famous Shakespeare’s Globe. Over the course of time, it was demolished and rebuilt for varying reasons, and still stands today in Southbank, facing the popular Thames River.

The Elizabethan Era marked a pivotal time in London’s Theater scene and served as a catalyst for the continuation and prosperity of theater, worldwide. Today, morality plays continue to influence the thematic undertones found in dramatic dialogue and remind us every day of the instrumental value that theater holds, at its core.