Spring Break
All the kings men ...
OSU's University Theatre kicks off its season with the politically charged, thought provoking drama "The King of the United States."
Aleks Cherednichenko
Issue date: 11/10/06 Section: Diversions
"The king is dead!" Yet the cast of this head-scratch-inducing play is alive and well. This fall, the Oregon State University Theatre is presenting its audience with a politically charged production of Jean-Claude van Itallie's "The King of the United States."
The play was written in 1972 to examine political process in America and the responsibilities we as citizens hold within that process.
"I wanted to put on a play that was relevant to the society we live in today," said Marion O. Rossi Jr., director of the production. The abstract style of the musical leaves room for interpretation by individual audience members. "The play is as much a critique of our political process as it is of the audience," Rossi said.
The stage setting is simple, consisting only of different sized boxes and a backdrop resembling the Lincoln Memorial.
George Caldwell, scenic and lighting designer for the play, said the minimalist approach to stage production was a mutual agreement between the director and himself.
"The different levels of boxes serve as a dramatic element to accentuate each character's identity," he said.
The stage set is in constant motion, paralleling the ever-changing rhythm of the play. Two television screens are incorporated into the stage setting. Cast members are projected onto the screen while reading their monologues during several points in the play. "We wanted to give the stage a feel of a television studio, where everything is staged." Caldwell said.
The stage production is full of metaphors, from the Roosevelts'-fireside-chats rocking chair to the Lincoln Memorial-like "throne" that the king occupies. The play is a wonderful portrayal of the debacle that is our political process.
The idea behind the set was abstract art. The product of abstract pop culture art appeals to every individual because it can be interpreted differently by each person. The beauty of this play is that there are
no wrong interpretations of its message. You may come out of the theatre perplexed, but you will not be wrong - a win-win situation.
The play was written in 1972 to examine political process in America and the responsibilities we as citizens hold within that process.
"I wanted to put on a play that was relevant to the society we live in today," said Marion O. Rossi Jr., director of the production. The abstract style of the musical leaves room for interpretation by individual audience members. "The play is as much a critique of our political process as it is of the audience," Rossi said.
The stage setting is simple, consisting only of different sized boxes and a backdrop resembling the Lincoln Memorial.
George Caldwell, scenic and lighting designer for the play, said the minimalist approach to stage production was a mutual agreement between the director and himself.
"The different levels of boxes serve as a dramatic element to accentuate each character's identity," he said.
The stage set is in constant motion, paralleling the ever-changing rhythm of the play. Two television screens are incorporated into the stage setting. Cast members are projected onto the screen while reading their monologues during several points in the play. "We wanted to give the stage a feel of a television studio, where everything is staged." Caldwell said.
The stage production is full of metaphors, from the Roosevelts'-fireside-chats rocking chair to the Lincoln Memorial-like "throne" that the king occupies. The play is a wonderful portrayal of the debacle that is our political process.
The idea behind the set was abstract art. The product of abstract pop culture art appeals to every individual because it can be interpreted differently by each person. The beauty of this play is that there are
no wrong interpretations of its message. You may come out of the theatre perplexed, but you will not be wrong - a win-win situation.
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