Almighty God has created the sexual desire in ten parts; then He gave nine parts to women and one to men. And if the Almighty God had not given the women equal parts of shyness…
To open their stage season, the UIUC department of theatre has begun with Heather Raffo’s award-winning production if 9 Parts of Desire. Original created as a one-women show, Raffo came to UIUC this fall to redevelop the work as a six-person vision. The work was also inspired by a trip Raffo made to the Saddam Art Centre in Baghdad in the late 1990s. There she saw only billboard sized portraits of Saddam Hussein. In a back room, however, she saw a painting of a nude woman clinging to a barren tree. She took a photo of the painting, returned to America and devised a way of replicating the painting into a play. A decade later she completed the play, which features monologues by nine highly distinct Iraqi women, initially all played by herself. [thesis]
One of the things this theatre department does best is stage and environment design. (I’m looking forward to seeing what they do for Shakespeare’s The Tempest later this month.) Here the black box “studio” spaced was arranged for theatre-in-the-round. At the center were three major components. Low-rising rough-hewn rock faces gave way to interstitial periods of plateau. On those smooth spaces we partially faded mosaic patterns in vibrant colors. A central sloping ravine to the floor emulated a riverbed. The six women each aurally recomposed this element in each vignette. For the doctor it was a hall of gurneys strewn with feces. For the painter, it was the prospect out of her sister’s window. For the American, an Iraqi child, and the Ex-Pat it was a ledge on which the television—the focal point of their attention—perched. Hanging from the ceiling were pieces of strewn rock and concrete, arranged to emulate the whole a drilling bomb left in a bomb-shelter roof. The presence of American-hewn carnage literally hung over the entire production. The plasticity of such design reinforced the sense that Americans and Iraqis are struggling still to “recreate” Iraq in the wake of Saddam, but that new-made home has yet to stabilize and take shape.
As a training theatre, however, overall the production produced an emotional flatness. While there were especially strong technical moments, the production hits a fever pitch too soon. About a third of the way in we are taken to the extremes of misery and love that is unsustainable. As primarily undergraduates these ladies did some truly remarkable work. It was in the characterization of Amal by Martasia Jones that I forgot I was watching someone work at acting. Her performance reminded of the salon tenor that I think Raffo is aiming for: that we are part of a conversation with women from a culture across the world but the subject matter is anything but alien. The eye contact with the audience by all the members of the ensemble was especially intense. Jones has a knack for knowing precisely how long to hold a silence after posing a question to her audience, waiting to a point of natural pause just as it begins to wander into the realm of discomfort. She was certainly able to gain the most audience engagement than any of the others in last night’s performance. At one point in her monologue about being fat, she hands a bag of chips to a girl in the audience. As a young man tapped her shoulder to get a chip, Jones broke with the script to offer a second of encouragement. Later, after revealing a surprising bit of personal information, an elderly woman on the far side of the room couldn’t help but cry out “Why‽” Its exciting to see a young woman like Jones sitting on the cusp between technicality and proficiency, that place where skill is starting to become second-nature and it pays off in changing the temperature of the room.
And it had been a rather cold Thursday- night audience of octogenarians and theatre-appreciation students completing attendance requirements. I think this and the over ally emotional flatness of the production may have in part been a byproduct of the initial one-woman construction. With one organizing voice taking on different postures the text and its affective tenor could have been more easily paced and managed. At first I was struck by what seemed fairly elementary dramatic construction before I realized it had been reframed. None of our actors speak to one another, they are always half (or fully) speaking to us. The diegesis—the world of the play—is constantly crumbling at our fingertips. What does work in this partitioned version in the use of Layall, the imagined painter and initial inspiration for the project, as the central thread or motif holding the story together. These are primarily vignettes, mediations around a decade in time, but Layall demonstrates some development over time. Hernandez is spiky and sultry as Layall. As a woman herself she seems very comfortable in her own skin, someone I can believe is “good at being naked,” as she says. She is also the darkest figure in this story, cooperating with Saddam’s regime in order to produce art. But even her celebration of the female figure under the thumb of Saddam, Hernandez’s Layall cracks under trauma and is subjected to a violent death. While for our other characters we feel pity for innocent victims, Layall is anything but innocent and yet seems perhaps more deserving of our empathy.
In many ways this staging of 9 Parts of Desire reminded me thematically of Bengal Tiger at the Baghdad Zoo. The subject is obviously the same: the trauma Iraq has and is experiencing and the difficulty in imagining any kind of liberated future for this culture in the heart of Persia. The argument that both plays are making is also similar. The Iraqis have become our kin, they are our cousins and our shame that we constantly carry as Americans. Like a child that has breastfed for more than a week from a woman other than its mother (as one story in the play goes), Iraqis are kin to us by experience. But 9 Parts of Desire casts this yoking of American and Iraqi culture in terms of cognitive dissonance. Each character attempts to find a balance between personal freedom and peace, and yet each seems to come to the conclusion that freedom and peace cannot co-exist but necessitate one another. So while this production may have come up a bit emotionally flat, it reminds us of how much there is yet to say and feel about the war of this generation.
- The Department of Theatre‘s production of 9 Parts of Desire plays in the Studio Theatre at the Krannert Center for the Performing Arts on the University of Illinois at Urbana-Champaign campus until 13 October 2013.
- Note there is absolutely no late seating for this production (trust me, I’ve tried).
- You can also download the program for this production, here.