The F-Bomb

***EDIT 1/18/10: I was made aware by someone attached to "Book of Days" that the people who left during Saturday's performance were erroneously informed by Riverwalk that the show was a "family" show. Again - I do not profess to know all the details. If more pertinent information arises, I'll update. To be clear, this particular piece was sparked by the rudeness I perceived by the reaction of the patrons who left the show and the relevancy and use of profanity in theatre. It is entirely my own opinion, and I thank you for reading it.


Author’s note: The following article contains mature language and if you are easily offended by naughty words, feel free to stop reading now and save yourself the hassle of having to walk away from your computer halfway through. Thank you.

I attended the Saturday night performance of “Book of Days” and before the show even started the people sitting around me were getting on my nerves. This happens at times – people who cackle a bit too loud, talk during the curtain speech, and continue to comment as the show begins. It’s grating but usually people settle in and begin to focus their attention to the action on stage. This particular group of people however, mumbled every time an F-bomb was dropped and soon I saw several CHILDREN get up and walk out. Why anyone would think a child would be interested in attending a show like “Book of Days” is beyond me.

Not long after that, one of the actors said “clit” in a humorous aside, and that was it. A much older lady a few seats down from me stood up and declared she wasn’t “going to take all this cursing and profanity! This is just, disgusting! What is wrong with these people?” And on her cue, almost half of two rows got up and followed her out – not taking the less obvious path of the back steps of the Riverwalk Theatre, mind you, but the Stage Right Vom entrance where a light was placed on the scene being played. They trudged grudgingly out, rudely passing several actors who were making entrances and were clearly lit as they exited – apparently these patrons wanted to make a point with their stampede.

I do not know if they said anything to Mike Siracuse, House Manager of the Riverwalk – I can only attest to what I saw for myself. It was almost laughable, actually. Except, the actors on stage noticed these people exiting and it was distracting for them. On a night where there was already pressure to perform (because Guy Sanville, the original director of this play, was visiting from the Purple Rose), they didn’t need this extra distraction.

To be honest, until the people beside me decided to leave, I hadn’t really noticed the cursing in the show – it was impressive to me that the actors made it sound very natural. In everyday circumstances I hear a decent amount of coarse language, and have been known to use it as well. On stage however, I realize a theatre has to be careful about what show they select because their choices are a reflection of their values and integrity. This isn’t meant to be a defensive letter on behalf of the Riverwalk – it’s really an impetus to delve into what profanity or shock topics might be meant merely for shock and what are devices used to tell a story.

An expletive traditionally is meant to “punch” the emotion of a sentence. “Fuck yes!” denotes extreme excitement, whereas, “Fuck no!” the exact opposite – it acts as an intensifier. Sometimes expletives are used for shock value by people who are inexperienced and think it’s “cool”…some people naturally keep expletives as part of their everyday vocabulary and it wouldn’t occur to them to bat an eye to hear it in conversation.

For example – and I will write more on this in my review – the scene in which the character of Ginger steps in and channels the expletive laden tirade of the older, more repressed Mrs. Bates nearly moved me to tears. I identified and emotionally connected with the energy of that scene – a scene that would not have worked without the adult language.

Another example was the character of Martha Hoach, one of the leading “offenders” of cursing in the play. As an older, educated, liberal hippie however the use of adult language fit and helped define her character. In her character the language was used as a means to poke fun at her more conservative son and daughter-in-law, and wasn’t bound by the so-called “rules” of propriety in language. She was a rebel, told stories of being a rebel, and her language reflected that. She realized that all words have value, and didn’t flinch from using any word she wanted to make a point.

For those who were offended by the word “fuck,” you could make the argument that they also resonated to that word – but were focusing just on that word, and missing the context of the scene. Words only have as much power as you give them. “Fuck” is no better or worse a word than flower. But – consider this:

“I’m going to fuck you!”

versus:

“I’m going to de-flower you!”

Which version makes more sense in a very aggressive moment?

Theatre holds up a mirror to society – depending on the show, you’ll get a different perspective out of that mirror. In “Book of Days” the mirror showed us the hypocrisy of religion, jealousy, insecurity, obsession, rage, lies, denial, repression, the search for truth, stubbornness, family, liberal dogma and fundamental dogma – and so much more of the traits every day people possess. Watching is a voyeuristic process and our reaction to what we see often triggers emotion within us. That is intentional – that is theatre.

For whatever reason, these people were unable to get beyond the everyday conversational sort of use of expletives used in the script. Their shock was a reflection of their repression, which is part of what the show itself was attempting to expose. I don’t deny people the right to leave the theatre if they want to. That’s not what pissed me off. What pissed me off was their disrespect to the rest of the audience, to the actors, and to the theatre. Their loud and blatant repulsion to a live piece of art was the most offensive part of the night. Adult shows often contain adult language – adults should know this. Adults should also know how to remove themselves from an uncomfortable situation politely.

Riverwalk could have given the play a rating for language perhaps, to warn parents away so children wouldn’t be exposed to the language and images the language presented. However, the ultimate responsibility for whether or not someone becomes offended lies on his or her own head. Offended by language in an adult show? Don’t go, or if you get there and want to leave, leave graciously. One can have an opinion that disagrees with the content of the author’s intent and not be nasty about it. In my mind these people are similar to some of the members of the church in the play that Reverend Groves ministers to – short-sighted, ignorant, and intolerant.

Their minds were likely closed before coming into the show, so the show itself wouldn’t have impacted them even had they stayed – what a shame. A fucking shame, some might say. The chance for experience, to connect with a live audience and emotions pouring forth is a gift. While I don’t think the play itself always connected completely, there were fine moments where the actors themselves became charged with emotion and drew the audience into the story with them, offering a gem or two of insight for the patrons.

Language is a tool, and you shouldn’t have to take any words out of your toolbox as a writer. Cursing has a place – it can be used to show insights into a character, it can denote aggression or violence, fear and remorse, time and place. Language is more than simple vocabulary; it possesses tone and tenor – channeling emotion and intent.

Some people might argue that the director could have cut some of the cursing from “Book of Days.” However, I would argue that if you submit a show for the season, and the show is then selected, it is the job of the director to be faithful to the author’s intent. And how do you know what the intent is? You read the words, and you work with them. Simple. Yes, a director can cut various things, but there are copyright laws that have to be adhered to. And as a writer, I can tell you I’d be pissed if I found out someone cut language out of a play I wrote out of fear for offending an audience.

I’ll have a review of the actual play soon – but I felt compelled to address this issue of profanity and the deliberate rudeness towards the audience, actors and theatre I saw Saturday night.

Thanks –

Erin