The Playwright's Voice by David Savran

Author:David Savran
Language: eng
Format: epub
Publisher: Theatre Communications Group
Published: 2012-04-26T04:00:00+00:00

So it’s a non-Christianized theology, but a theology nonetheless.

Very pre-Christian, very primitive. There might be some confusion—I remember talking to people who were violently offended by the play and said that angels would never do that. But they were coming from a Christian perspective, and I tried to get them to think of God in other terms.

Of course, in Marisol you’re colliding many different mythologies, both old and new.

I like sometimes to think of these mythologies as having some kind of reality to them. Even though I know they don’t. In my new play there’s a monologue about a girl who sleeps next to a big hole in her bedroom. Out of the hole comes a man called Aceman, and Aceman is half Mexican and half Native American. All his friends are mixed blood, and they’re all dead, but they don’t know which afterlife to go to. So they’re confined to this limbo and this hole in the girl’s bedroom. So I wonder, What happens when gods intermarry? How do they raise the children? In Marisol I was playing with the idea of visitor beings, and on this particular day this one god cuts through all the borders and throws everything off. Suddenly, all these things become visible and real to this girl. A menu of mythology to choose from. I have two children, and my wife and I expose them to myriad beliefs. We go to the museum and look at Buddha, and say, “This is Buddha. This is Vishnu. This is Aphrodite,” to give my daughter at least the impression that I don’t know the absolutes, and nobody really does, even though many claim to. And it’s her job to read them and pick. So much of Marisol is based on that journey. For a long time she believed in Zeus. She said, “Dad, I believe in Zeus, he throws so many thunderbolts.”

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