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Family Carnage Tracy Letts' August: Osage County

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Family Carnage Tracy Letts' August: Osage County FAMILY CARNAGE TRACY LETTS’ AUGUST: OSAGE COUNTY GABRIELA GLĂVAN University of Timişoara Abstract : One of the most widely known contemporary plays of today’s American theater, Tracy Letts’ “August: Osage County”(2007), is a literary and dramatic nexus that reunites a significant Western cultural heritage coming from authors such as Eugene O’Neill, Arthur Miller or Federico García Lorca. The paper follows the connections between Tracy Letts’ play and other remarkable dramas of Western theater, while also exploring its thematic structures and characters from a comparative perspective. Keywords : addiction, crisis, contemporary American theater, death, family reunion, intergenerational conflict 1. Introduction: A recipe for disaster Revolving around the family events triggered by the disappearance and death of a patriarchal figure, Tracy Letts’ August: Osage County (2007) has been acknowledged by the vast majority of its critics as an exemplary play of family crisis and disintegration. The play premiered at the Steppenwolf Theatre in Chicago in 2007, and was awarded the Pulitzer Prize for Drama in 2008. Five years later, in 2013, John Wells directed a cinematographic version of the play, receiving a significantly less enthusiastic critical response. My paper will carry out a close inspection of the major thematic structures in Letts’ play, trying to reveal some clear similarities with other important plays that explore the same dramatic spectrum. As Edward Sobel, Steppenwolf Theater’s director of play development, points out, Tracy Letts seems to be engaged in dialogue with the pantheon of American playwrights, from Eugene O’Neill to Edward Albee, as “their handprints are very much deliberately present in August ” (Sobel qtd. in Nance 2007:45). Very much aware of these inevitable connections and contaminations, Letts (qtd. in Nance 2007:45) declares that “some of it’s conscious, some of it’s unconscious” but there definitely are “reference points”. My aim would also be to mirror Letts’ August against O’Neill’s Long Day’s Journey into Night (2002), and, rather collaterally, against Federico García Lorca’s The House of Bernarda Alba (1955). I shall also make references to the film adaptation of the play (2013), written by Tracy Letts and directed by John Wells, as I believe Letts’ involvement in the project encourages a closer inspection of the dialogue and the mirroring process between theater and cinema in the specific case of August: Osage County. The opening scene of Letts’ play immerses the spectator in the grim universe of the family patriarch’s tired final days. A professor of literature and a poet, Beverly Weston, the alcoholic father of the family, makes one final effort to bring some order into the chaos of the life he shares with his wife: he hires Johnna, a Cheyenne Native American woman to cook and clean for them. Their dialogue is more of a monologue, yet Beverly does not fail in setting the tone of the play by quoting from T.S. Eliot’s The Hollow Men : “Life is very long” (Letts 2007:10). In B.A.S. , vol. XXI, 2015 118 Michael Schulman’s (2014) view, “he’s the embodiment of weary apocalypse”, an essential character that exits the stage shortly after offering a glimpse into his social and emotional collapse. Yet, before they are informed by the sheriff that Beverly had committed suicide, his close family reunites around Violet and their three daughters, Ivy, Barbara and Karen. The full house days at the Weston residence are the perfect ground for unleashing decades-long frustrations, voicing unspeakable truths and demolishing the very foundation of a traditional nuclear family. Beverly’s death is an efficient catalyst when it comes to exposing the true nature of Violet’s relationships with her daughters, their spouses and children, and with her sister Mattie Fae Aiken and her husband and son. Indeed, the stage is very crowded in August , and this density of characters is clearly reflected in the intensity of mutual evisceration. This type of violent destructive behavior becomes the norm of the matriarch’s relationship with her daughters (O’Reilly 2009:22). Nobody manages to fly below Violet’s unforgiving radar, and, at the same time, nobody misses the chance to express his/her saturation and disappointment with the cruel bindings imposed by family traditions. Letts’ play investigates emotional disaster from multiple perspectives, including age, gender or even demographics – ironically, Karen, the youngest Weston daughter is from Florida, hence her tonus seems to be permanently at its best. Nobody manages to escape Violet’s deadly verbal grip: suffering from a literal-turned-metaphorical mouth cancer, Violet is a predator on the loose, mercilessly exposing the weaknesses and failures of her closest family circle. In Schulman’s terms, the troubles of the Westons “seemed to pile up ad infinitum: pill addiction, alcoholism, suicide, infidelity, incest, and, above all, a talent for cruelty” (Schulman 2014). The apparently never-ending string of issues plaguing the family, brought to life even in the least inflammatory circumstances, is deeply rooted in each character’s past. Violet’s addiction to pills is a possible consequence of her inability to accept the failure of her marriage to Beverly, but, at the same time, it might be nourished by an older pain, one that is both uncontrollable and undeserved – her troubled relationship to her own mother. In her own words, “My momma was a nasty, mean old lady. I suppose that’s where I get it from” (Letts, 134). It’s not surprising that, after a moment of awkward silence, the only daughter who dares to reply is Karen, who seems particularly out of touch with reality: “You’re not nasty-mean. You’re our mother and we love you” (Letts 2007:134). The high voltage tensions inside this family reach unfathomable levels due to an element that works properly only on stage – the claustrophobic space of the house. In the theater version of the play, the Weston family home resembles a “universe in miniature, at once confining and encyclopedic” (Schulman 2014). It is an enclave, a place that sequesters and torments the characters to act according to the worst in their nature. The cinematographic adaptation fails to render the invisible pressure this “dollhouse-like set” exerts on its inhabitants, as on the film set spatiality works differently than it does in theater. Even if a scene is filmed inside, the camera can only capture parts of the set, thus failing to render the utter feeling of suffocating enclosedness the theater set might induce. Violet seems to have perfected her predatory senses through repeated practice, since she knows best when to attack for maximum damage. Her discreet, unglamorous daughter Ivy falls prey to a cascade of blunt, unflattering remarks: 119 SPLIT SELVES, GENDERED BOUNDARIES, TRAUMAS Your shoulders are slumped and your hair’s all straight and you don’t wear makeup. You look like a lesbian. You’re a pretty enough girl, you could get a decent man if you spruced up. A bit, that’s all I’m saying. (Letts 2007:33) Karen is directly accused of disrespect to her dead father for having brought a date to his funeral, although Steve Heidebrecht, is, in fact, her fiancé. Barbara, her mother’s favorite, seems to have inherited a certain toughness when it comes to family matters, although her own family is falling apart. Her husband, Bill, at one point undecided about their separation, clearly favors his younger lover by the end of the play, leaving Barbara behind. Despite his neurotic dissatisfaction with the whole family affair, Bill eagerly complies when Violet orders him to curse: “Say horseshit, Bill” (Letts 2007:51). Not even Jean, Bill and Barbara’s teenage daughter, is safe from her grandmother’s foul mouth. Moreover, as the young girl declares her preference for vegetarian food over the funeral dinner, saying that she refuses to ingest the butchered animal’s fear, the whole family takes great pleasure in laughing at her, while uncle Charles, Mattie Fae’s husband, pretends to fall sick at the table due to animal fear ingestion during dinner. This scene resonates with the one in which Violet remembers a childhood memory of great emotional importance, when her mother gifted her with a dirty old pair of boots one Christmas, knowing that her young daughter was desperately hoping for a pair of shiny new ones. Once again, the monstrous coalition of adults against children proves the alienating force of repressed suffering, a vicious circle in which the former victim takes on the role of the aggressor, unable to escape the terrible destiny of the abused who, in their turn, become abusers. It has been argued, in this direction, that “Letts’s real subject […] is that the ties that bind are also those that rip people apart” (Brown 2008:18). 2. The anatomy of a dinner from hell The family dinner scene is a classic choice in both film and literature when the author intends to bring dark secrets to light or reveal uncomfortable truths about characters. It is, first of all, the easiest strategy to employ when it comes to mirroring characters against each other or trying to elicit a defining response from them. Letts turns this scene into the core moment of his play: the funeral dinner that was meant to celebrate Beverly’s life and heritage turns into a brutal war of words that leaves everybody wounded. It is only now that the spectator understands Beverly’s remark in the Prologue, when asked by Johnna what kind of cancer Violet was suffering from: “I didn’t say? My God, I nearly neglected the punch line: mouth cancer” (Letts 2007:18). Barbara is the first victim to denounce her mother’s vicious attack on “each and every member of this family” (Letts 2007:118), after a scene when she does not shy away from being cruel herself.
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