March 23, 2024- “What about the thousands of Vietnamese and Cambodians who have been killed?” So asks Henry Wyeth, an unseen character in Jon Robin Baitz’s “Other Desert Cities”, in response to his father’s admonition to turn himself in, after a bombing, in which he was involved, results in the death of a janitor. Father slaps Henry across the face, and the disheveled young man runs away.
This incident, and its aftermath, are the plot of Baitz’s 2011 play, about family dysfunction, the effect it has on the Wyeths, their two younger children and their doting, but feckless, aunt. It deals head-on with the overemphasis on political differences and how artificial those turn out to be, at the very basic human level. It is, at its core, a horror story. The catalyst is Henry’s sister’s writing a memoir, centered around his disappearance.
I went to a production of the play, this evening, at Prescott Center for the Arts. A fairly new studio theater affords an intimate, “in the square” presentation, almost like watching a play in one’s own living room. This makes the interaction, the tension, that much more relevant to the audience. It also increases the impact of various ad hominem attacks that the family members foist on one another, and no one is spared.
My family, even on an extended level, never fell into such holes of judgment. When we argued, things were resolved by nightfall, or by the problem person apologizing, whichever came first. The same was true in our marriage. Neither of us went to bed angry at the other. None of us let political differences trump familial love. So it remains today. People choose their political and social stances based on their personality, view of the world and experiences. No one else can really judge them, for those things alone.
In the beginning, and in the end, there is only love.
A Sagittarian Seeker 