Siân Adiseshiah University of Lincoln, UK
[email protected] The unbridgeable bridge to utopia: Howard Brenton’s Greenland Written and performed just after Thatcher’s third election victory in Britain in 1987, Howard Brenton’s Greenland is an isolated example durinG this period of a Left playwright’s attempts to represent utopia on staGe. Unlike the savaGely satirical approaches of other Left plays around the same time, such as Brenton and David Hare’s Pravda and Caryl Churchill’s Serious Money (both sardonic travesties of the riGht-winG press and the City of London in Thatcher’s Britain) Greenland attempts to reconstruct a utopian future. The second act of Greenland partially resembles a utopian space usually encountered in a conventional utopian narrative, and in doinG so, has led some commentators to dismiss the play as tedious and lackinG in dramatic interest. Its lack of conflict and the contentment of its inhabitants have led to it being described as static and dull. This interpretation has brouGht with it a readinG that concurs with the character, Severan-Severan, whose view is that misery and sufferinG are essential to the human condition and that liberation is a living death. However, this approach neglects a more complex engagement with utopia that can be traced in the play. Spectators of the play - along with the non-utopian character, Joan - respond to Greenland in a way that can be illuminated by Frederic Jameson’s idea of the ‘terror of obliteration’. This paper will explore ways in which Greenland exposes psycho-political barriers to utopia, barriers that frame the spectator’s view of the play, and it will also reveal ways in which bridGes to utopia are constantly at stake.