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Anon(Ymous) an Adaptation of the Odyssey

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Anon(Ymous) an Adaptation of the Odyssey AYSCRI. Anon(ymous) An Adaptation of The Odyssey BY NAOMI IIZUKA The teen goddess Naja (Sonja Parks) gives Anon (Michael Escamtila) a toy of epic significance at the Children's Theatre Company in Minneapoiis. FEB07 AMERICANTHEATRE PLAYSCRrPT Naomi llzuha Anon(ymous) There's No Place Like Home An interview with the playwright BY DOMINIC P. PAPATOLA DOMiNIC P. PAPATOLA: Cambodia, and arrive in Minnesota? To leave your home and This pl£)y< commissioned arrive in this snowy foreign land—what must that be like? by iMinneapolis's What did they leave behind, and what were their lives like in Children's Theatre this new place? I wanted very much to see those characters Company, was one of your on stage, to see their experiences represented. first scripts for young audiences. Does writing How much classical literacy do you think is necessary to for young people change apprehend this pky? your approach to writing, None. I think—and I hope—that the play stands on its own. or the aesthetic geometry If y o u know The Odyssey, then your experience ofthe play will of" the piece? be enriched. But if you only vaguely remember it trom when NAOMi MZUKA: It does and it doesn't. It forces you ro distill you read it in high school, or if you've never read it, the play your storytelling in a very pure and dynamic way. lo a way, will speak to you on its own. it makes everything a little bolder. You really have to hit the ground running in terms of story. Bur I'm not sure that You chose not to give your Odysseus character a name- 1 would make the distinction that Anon(ymous) is a play for he's called Anon in tbe script and assumes different young people or a play for adults. I hope it resonates for both. names as the occasion demands. Part of that was a desire to be true to the original. Odysseus What drew you to revisiting; The Odyssey: is this chameleonlike character—he survives by his wits. But I loved the story from very early childhood. I remember I had it also seemed like a very apt metaphor for what people have this picture book of The Odyssey. I have these memories of some to do when they come to a new land. You change your name, ofthe episodes—the Sirens and the Cyclops, in particular. or it's changed for you. I think of all those people who came It's a story that's always captivated me. As I got older, I also through Ellis Island and had their names shortened or mangled. became obsessed by the idea that this was a journey to get But in a larger sense, you're faced with the choice of home and to everything that home means. having to change the core of your identity when you adapt to a new place. When you do, there's a kind of a dissonance Some of the parallels to The Odyssey arc clear, and others between who you are inside and who you have to be in the are less so. Can you talk about how you developed these world to survive. Having the protagonist embody that conflict characters? in his name makes sense to me. I lived in Minneapolis in the mid-1990s, and I have very vivid memories {>f taking the bus down Franklin Avenue Wiiich ofthe characters you've borrowed from Homer in the middle of winter, and seeing women in full Muslim do you think make especially effective contemporary dress. I remember being fascinated by that: What must it be translations in /tiinn(ymom)? like to come from a place like Sudan, for example, or Laos or Odysseus, most of all. I was alwaj^ intrigued by his reunion with ABOUT THE PLAYWRIGHT Naomi lizuka's plays include 56 Views, Anon<ymous), Citizen 135S9, Hamlet: Blood in fhe Brain (a collaboration with CalShakes and Campo Santo + Intersection for the Arts in San Francisco), At the Vanishing Point, 17 Reasons (Wt}y), Polaroid Stories, Language of Angels, War of the Worlds (written in collaboration with Anne Boqart and SITI Company). Tattoo Girl, Skin and Aloha, Say the Pretty Girls. Iizuka's plays have been produced by the Children's Theatre Company in Minneapolis, the Kennedy Center for the Performing Arts in Washington, D.C, Huntinqton Theatre Company in Boston, Actors Theatre of Louisville in Kentucky, Berkeley Repertory Theatre in California, Geva Theatre Center in Rochester, N.Y., Laguna Playhouse in Laguna Beach, Calif., Portland Center Staqe In Oregon, the Public Theater in New York City, Campo Santo + Intersection for the Arts, Dallas Theater Center, Brooklyn Academy of Music, the Edison Theatre in St. Louis, Mo., Soho Repertory Theatre In New York City and the Edinburgh Festival in Scotland. Her plays have been read and workshopped at the Guthrie Theater in Minneapolis, Goodman Theatre in Chicago, Manhattan Theatre Club, Center Theatre Group/Mark Taper Forum in Los Angeles, San Jose Repertory in California, 8read Loaf in Mlddlebury, Vt., Sundance Theatre Lab, A.S.K. Theater Projects in Los Angeles, the McCarter Theatre in Princeton, N.J., ACT Theatre in Seattle, the Bay Area Playwrights' Festival, Midwest PlayLabs in Minneapolis, En Garde Arts/P.S. 122 in New York City and New York Theatre Workshop. Her plays have been published by Overlook Press. Playscripts, Inc., Smith and Kraus, Dramatic Publishing, Sun and Moon Press and Theatre Communications Group, lizuka is currently working on commissions from the Goodman Theatre, the Guthrie Theater, Yale Repertory Theatre, Cornerstone Theater Company and Berkeley Repertory Theatre. She is a member of New Dramatists and the recipient of an Alpert Award, a Joyce Foundation Award, a Whiting Writers' Award, a Stavis Award from the National Theatre Conference, a Rockefeller Foundation MAP grant, an NEA/TCG Theatre Residency Program for Playwrights grant, a McKniqht Fellowship, a PEN Center USA West Award for Drama, Princeton University's Hodder Fellowship and a Jerome Fellowship, lizuka received her BA summa cum laude from Yale University and her M.F.A. from the University of California-San Dieqo. She has taught playwriting at the University of Iowa, the University of Texas-Austin and the Universtiy of California-Santa Barbara. The cast of Anon(Ymous) at the Children's Theatre Company. restaurant or the desert landscape on the border of Mexico. I wanted the audience to feel the quality of light. I wanted them to be able to taste coriander and clove. I wanted the overall experience of this play to be more than just watching a play. I wanted to create a sense of lots Penelope, and hy the fact that she didn't recognize him, It was as if all of different worlds colliding. I believe that Peter [Brosius, the artistic the experiences he had had on his travels had transtormed him so much director ofthe Children's Theatre Company] and the designers found that he was a different person. ,And his home, too, wasn't this static, reli- this very smart, visceral, inventive and deeply theatrical vocabulary to able given—it had shifted in his absence. That idea struck me as really translate my stage directions in a way that surpassed what was in my contemporary. I think immigrants are transtbmied iii huge, overwhelm- mind when I wrote them. It was one of the most beautiful productions ing ways by their experiences. Their relationship to the idea of home of my work I've ever seen. seems very much in tine with that disorientadon Odysseus experiences. How much ofthe play was influenced by the times in which You've ritfied on the classics before—your play Polaroid Stories you were writing it? T h e r e are echoes in the script ofthe 2004 was based on Ovid's Metamorphmes. Why do you think artists tsunami, immigration-related violence, and very contemporary turn to these timeless tales again and again? references to refugees and ci\ il wars. They're stories about coming of age, navigating the world, fighting It's interesting thatyou mentioned the tsunami. I wrote the piay before monsters, grappling with loss. They present us with these primordial that happened, but there are these parallels to present-day events. 1 struggles and conflicts that we all must deal with, no matter where want very much for the play lo speak to our times—and these are we come from. I think because of that, these stories are somewhat times that have been particularly harsh and unforgiving to refugees magical. They crack open some seed of human mystery. And they're and recent immigrants. I hope the play begins to honor some of their just amazing stories. I discovered that all over again when I returned experiences and their stories. to The Odyssey in writing this play. Any odier old myths, l^^ends or fairy tales you^d like to bring to It's a very sensory play. There's the interplay ofthe refugees' the stage? voices at the beginning, the sound of trains roaring by, the Right now I'm working on an adaptation ofthe Rumpelstikskin story. sights of beaches and bloody butcher shops and—in the CTC I just had a haby, and I suspect I'll be revisiting stories of childhood production—even the smell of curry spices wafting o\er the more often in the near future. audience. Did you imagine it in all of those dimensions? When I was creating the play, I ver\' much wanted it to be a sensory Dominic P. Papatota Is the theatre critic for the experience that would contain within it all the sights and sounds of P/oneer Press in St.
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