Audience

Among Václav Havel's extraordinary traits--talent, bravery, more bravery--his compassion is in some ways the most impressive. In his one-act play Audience, Havel's stand-in, Ferdinand Vaněk, works in a brewery, often relegated to tedious, punitive tasks, because he has been forbidden in communist Czechoslovakia to be a playwright, and because he comes from wealth. Vaněk fascinates the Brewmaster, who holds him in endless conversations in which he tries to get Vaněk to drink and questions Vaněk about his previously glamorous life. 

Photo: Jonathan Slaff

BREWMASTER: You must've known all them actresses since you wrote for the theater.  

 

VANĚK: Of course…  

 

BREWMASTER: Like that cutie-pie, Bohdalová? 

 

VANĚK: Yes... 

 

BREWMASTER: Personally, I mean... Did you know her personally?  

 

VANĚK: Yes…  

 

BREWMASTER: Tell you what, why don't you ask her down here for a beer one of these days... Have some fun like... Whadya say? 

 

VANĚK: Hmmm. 

That "Hmmm" is one of Vaněk's main responses, as he is powerless to just excuse himself and leave. He manages to mostly avoid drinking, but the Brewmaster gets drunker and drunker, repeating himself and becoming increasingly volatile. He asks Vaněk if they are friends and Vaněk of course says they are. Vaněk deals with the Brewmaster as though he himself is a fly and the Brewmaster is a stupid but deadly spider.

Then Brewmaster dangles a carrot, offering Vaněk a job in the warm warehouse rather than the cold cellar where he currently works. Vaněk's actually wanting something from the Brewmaster (other than just getting away from him) changes the balance of the conversation. And still the Brewmaster drinks, becoming more and more dangerous.

Photo: Jonathan Slaff

And here's the thing: Havel lets us see that the Brewmaster is himself a victim--of mediocrity, of ignorance, of lack of opportunity. He holds Vaněk's/Havel's life in his hands, but Havel can still see things from his side and recognize his humanity. That's particularly impressive in a play written so secretly that Havel didn't get to see it performed for 16 years. To me, that's the best sort of writing, not to mention the best kind of being. 

In the La MaMa presentation of the Czechoslovak-American Marionette Theatre's version of Audience, translated, directed, and featuring Vít Horejš, and also starring Theresa Linnihan, the two main characters are active puppets and the other people mentioned in the play are seen in small, slightly motorized dioramas. Cameras provide a sense of surveillance and also make it possible to see the small dioramas.

What do the puppets bring to the show? First of all, the puppets are works of art in and of themselves. Also, they open up the play by showing other people and locations. Most importantly, they allow the physicalization of the power differential between the main characters. 

While largely successful, this production ultimately lacks the overwhelming sense of claustrophobic danger inherent in the play. The version I saw at PTP/NYC, for some reason called "Interview" there (click here for review), was terrifying to watch. 

On the other hand, this production does quite well with the absurdity and humor of the play. And the short opening documentary film provides excellent context.

Wendy Caster