The Thin Place by Lucas Hnath - 3w, 1m
The Thin Place is the story of two women, Hilda and Linda. Linda communicates, professionally, with the dead, who are still here, just in a different part of here, in the "thin place." She can make those who believe hear them, offering them peace and closure and meaning. Originally from rural England, she’s reestablished herself in the U.S.—birthplace of spiritualism—where she has continued to build a career out of her gift. Hilda, a keen listener and observer who’s grappling with loss, takes a great interest in Linda’s abilities. She befriends the veteran medium, seeking answers that lie across the fragile boundary between our world and the other one.
Labels: death, supernatural
posted by Jim Vogel at 11:16 AM
7 Comments:
I'm not sure how I feel about this one. It's one act, small cast, pretty bare set. It's also very monologue heavy which is a turnoff. Some of them run for four pages! Also, there's not a lot of movement.
That said, the story is interesting and makes you think. It deals with the supernatural which is very intriguing. The dialogue (when there is dialogue) is very good with a fast pace. I don't think it would be a big seller.
I agree with Jean. The script is quite static and filled with monologues. I personally also tend to be turned off by scripts which break the 4th wall and interact with audience members. I also wonder about the illusions. Do we develop them ourselves or do we buy them from the person who developed them for the original production (?for a proscenium stage)? I also wonder if it would sell.
From Sofia: I think it’s a gripping and thought-provoking ghost story. The round would be great for this. It would be a good play for November (when it’s darker out but before Christmas season). For an even richer experience, some kind of introduction would be nice – to put the audience in the “right” state of mind. It’s a YES for me.
It was OK but not a big fan of it and I think there are better ghost story type options such as Woman In Black.
Interesting and well written piece. While I really like it, it is entertaining and moody with interesting characters - it has some interesting challenges. Agreed that the narrator form with lots of monologues is trickier to make natural in our space, particularly with a bare set. I feel like it is meant to be a fairly still play except during the party scene. I have no idea if the magic trick at the end would work in the round. It would probably have to be in tunnel vom and not everyone would be able to see it with the same emphasis which would make it MUCH less effective a very important final beat. In a proscenium, a director can force perspective. It is much harder in the arena - particularly when you have not already established that there are surprise supernatural elements for the audience to be watching for (a la - Woman in Black). If there were some way to have the effect right at center stage, it would work - but I have no idea if that is possible since I don't know the mechanics of the trick.
I found this an intriguing play. I don't see it simply as a "ghost story." Basically, it is asking us to question what we have faith in, how gullible or impressionable we can be, especially when we are in a vulnerable state. It's about the power of the mind. Not long after I moved to the Cities a work friend introduced me to a woman in St. Paul who characterized herself as a medium. I scheduled a reading. Some of what she told me was immediately, and somewhat uncannily, relatable and spot on. Other things felt vague and without context, and it wasn't until many years later when I came across the notes I had made following the meeting that I was struck by how much of what she told me actually came to be - while other things remained vague and unrelatable. Upon further review, I could also see that it was possible there was power of suggestion involved in some of my interpretations, while others were simply inexplicable. But what it comes down to is, what are we willing to believe in? This play addresses this dilemma quite well with the characters of Linda and Hilda in their own states of belief and denial - and ultimately asks the question, what is real? And the audience will hopefully be drawn into the illusions of belief or, rather, suggestions of belief. Many people have a natural inclination to be intrigued by the supernatural, and if we market that aspect of the script I think it will draw an audience. Some comments here have raised the concern about long monologues, and I agree that at times this device can be problematic. However, I also think of the number of one-person shows that I have found absolutely riveting (consider the recent "All the Devils are Here: How Shakespeare Invented the Villain" at the Guthrie. It was simply one man speaking directly to the audience and holding us in the palm of his hand). If the acting is good the audience will be engaged. In terms of the onstage illusions, there is a note in the beginning of the script concerning access to designs and explanations from the original illusion designer for a "mandatory performance fee." I think we should keep this one in the mix.
Jim asked me to comment specifically on the technical feasibility of the vanishing illusion in this one. Not really my area of expertise. I agree with Larissa that it would likely have to occur in the Tunnel vom, I presume against a false wall erected in the sweet spot for maximum visibility. It would be hard not to telegraph that “something is up” in the moment, in that case, I think. I can imagine possible approaches but I’d expect to rely on the advice available from the illusionist who created the effect for the original production. I enjoyed reading the play and would probably enjoy seeing it if impeccably done. I truly love minimal sets and I think that this could be very visually interesting but the sections of the piece meant to be played in the two chairs will present a challenge for engaging with all sections of the audience equally. The Playwrights Horizons production got wildly varying reviews. Hard to predict its overall appeal here, I think. Does the play or Hnath have much name recognition here? I’m ignorant on that subject.
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