PLAY TITLE: Tribes
PLAYWRIGHT: Nina Raine
OPENING YEAR: 2010
MATURE CONTENT: Language
GENRE: Family Drama
GRADE: Mixed
Verbal sparring is the conversation of choice within a
Jewish-British family that consists of rightwing nut job father Christopher,
detective novelist mother Beth, schizophrenic college student Daniel, spitfire
opera star Ruth, and the centerpiece of this play, the deaf translator Billy.
Their already volatile situation is made worse when Billy finds romance with
another deaf person named Sylvia, who teaches him sign language. Billy believes
that Sylvia has been more supportive of him than his own family and the two
move into an apartment together. The common theme of this play is finding
acceptance in a world that seems to be closing in around the oppressed.
This play is divided into two acts and I can safely say that
the second is better than the first. The first act serves as an introduction to
all of the dysfunction within Billy’s argumentative family. While I understand
that building up to the climax has to start somewhere, the first act felt
unrealistic to me as far as fighting goes. It seemed like the characters were
arguing for the sake of arguing. Instead of resolving their differences, the
family comes off as total jerks that nobody wants to relate to. Sure, there are
some funny lines in there, but humor is subjective and I only laughed three
times during this whole play. My favorite line has to be when the father makes
a joke about how having sex with an ugly woman is like “sticking your cock in a
cement mixer”. Every other piece of dialogue comes off as childish and
mean-spirited. I bet there are families like that out there, but that doesn’t
necessarily mean I want to be around them.
The second act was a breath of fresh air compared to the
first. Instead of mindless bickering that doesn’t feel organic, you get true
emotional situations. Arbitrary anger is replaced with pain, heartbreak, and
passion. You can feel Sylvia’s heart shattering into a million pieces when she
talks about feeling alone in this world even among a group of other deaf
people. When Billy throws his Santa hat in frustration, you’d better have some
tissues in your pockets. When Daniel’s stammering habits come back to haunt
him, you want to be part of his hug with Billy near the end. Even though they
had a blandly angry script to work with in act one, the actors did a phenomenal
job in carrying the drama through. Imagine what they can pull off when the
emotions are believable and relatable on a deeper level.
Speaking of believability, Daniel’s schizophrenic quirks
struck a chord within me. As many of my readers know, I’ve been a schizophrenic
since 2002, maybe earlier. The struggle to shut up the voices, the feeling of
despair, the voices interrupting during important conversations, the insulting
language in which the voices speak, those were all things I could relate to
when it came to Daniel’s character. By the time the play was over, I was
rooting for him to get better. In act one, however, he acts like a major pain
in the ass and in many cases a verbal bully, which is why it took so long for
me to relate to him. But relate to him I did. I even had to remind myself that
erratic behavior is a common symptom of schizophrenia. Lord knows I’ve done
some crazy stuff during the early onset of my disease.
Somewhere in the scuffle of hateful dialogue, there are
messages about accepting each other for who we are, being free-thinking
individuals, and being supportive when it truly counts. You might have to wait
a while for the more tender parts of the play to show themselves, but it’ll be
worth the wait. Some of the banter might remind you of your own family, though
hopefully not to that extreme. If you’re not overly sensitive when it comes to
dysfunctional family matters, then I would advise you to buy a ticket to see
this play. Patience is a virtue, which is true for living with crazy characters
and watching this performance. I believe a mixed grade will do just fine.
