Tom Wolfe’s Bonfire of the Vanities came to mind while watching On How To Be A Monster. His 1987 bestselling novel satirized late twentieth century New York society. He skewered the men as self-defined “Masters of the Universe” and their wives as “Social X-rays.” Maria-Luiza Müller’s play similarly uses sarcasm to expose the vapidity of another generation of mentally vacant couples.
A television host is “feeling F-A-N-T-A-S-T-I-C, let me tell you!” He spells words for emphasis. As winningly portrayed by Adam Fisher, he embodies the Ryan Seacrest brand and smiles profusely. His energy level implores that there is “no reason to be sad today.” His IQ level, however, is questionable. Perhaps that is why he is a perfect choice to host a television show with no depth or importance. This play is definitely commenting on our viewing habits.
This particular program is “devoted to improving the society.” The host lists a few social issues the audience should know about: global warming, Planned Parenthood and starvation in Africa. After that perfunctory nod to important things, the host then describes the game show to be played.
Four couples will compete to be selected as the Best Couple. He reminds us that “the best couple is the happiest couple.” There are three judging categories: costumes, questions and “special skills or sad story.” Both in studio and the television audiences are told their opinion is important. Vote for your favorites. Vote, vote, vote.
The first couple to compete is Don and Tara. “They are a happy couple who love to walk in the park, watch TV and make French fries.” The host then asks, “Is that correct?” They say yes and, without a touch of irony, the host exclaims, “Amazing!”
Another couple responds to this question: “what are your thoughts on starvation in Africa?” The man responds that he “wants to adopt all the kids who are starving!” Quickly the host moves to the next judging category. Ms. Müller is clearly lambasting the one dimensional surface level bubble heads permeating the television airwaves. Since there are four couples and only three issues, the final question provides the biggest laugh of the play.
The competing couples sit around a table sipping drinks and chit chatting. They are modern day social x-rays, younger than Mr. Wolfe’s but no less insufferable. When someone makes a comment that might be even remotely serious, they all laugh. The satire is present but can still be enhanced. The script calls for many pauses and Director Frederica Borlenghi stages the show that way. The flattened cadence unfavorably compares with the hyperactivity of the game show section. These couples could certainly be written as even more ridiculous caricatures.
A monster is also a character, appearing here and there. Who or what is the monster and what does it represent? There is a mystery within this play which dismantles the pretenses so carefully maintained by these cellophane stereotypes. The end of the play provides an answer to the monster question. Or does it?
Maria-Luiza Müller seems to see monsters in various guises. Her observations are keen. The ending of this play is memorable and effective. Pacing and acerbic bite can still be further developed.
On How To Be a Monster is not a primer which provides a road map. Our society’s contemptible self-absorption is certainly a big target here as is our ability to turn a blind eye. Important issues loom large and continue to be ignored. It makes you want to scream.
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