Theatre's Golden Rule: Embrace Short Snacks or Long Feasts
In the world of theatre, a critic has proposed a compelling golden rule: all productions should be either less than two hours or more than five hours in length. This perspective challenges the conventional middle ground, suggesting that it is in the intermediate durations where audiences often feel restless and disengaged.
The Perfect Short Excursion
A short play, lasting under two hours, is described as the ideal snack to seamlessly incorporate into daily life. If the show is disappointing, viewers are not held captive for an extended period. Conversely, a good short performance allows for a complete evening experience, bookended by a meal and drinks, or an early return home. The critic questions the common format of "two hours and 10 minutes including a 20-minute interval," advocating instead for a straight-through 110-minute run to enhance flow and engagement.
The Danger Zone of Three and a Half Hours
Three and a half hours is identified as the danger zone, particularly for unabridged classics. At this length, artists frequently overlook how time impacts both the body and mind of the audience. This duration often leads to restlessness, with the play feeling like it has overstayed its welcome and consumed too much of the day.
The Transformative Power of Long Plays
When a play extends beyond five hours, its entire structure transforms. Time ceases to be an external factor and becomes an integral artistic element. Audiences confront their attention spans, and performers face exhaustion. In such productions, the theatre becomes the focal point of the day, with life rearranging around the work. Even during intervals or dinner breaks, the play remains the most significant aspect, fostering a unique alchemy between actors and audience, as well as among strangers committed to sharing the experience.
Memorable Long Performances
The critic recalls several notable long plays that exemplify this immersive quality. Nature Theater of Oklahoma’s 10-hour Life and Times: Episodes 1–4 evoked a fever dream-like disintegration into madness. During the dinner break for Belvoir’s seven-hour Angels in America, the magic of sunset blended with the fantastical New York City setting of the 1980s. Ivo van Hove’s six-hour Roman Tragedies featured an onstage timer counting down to deaths, creating intense tension. In Gatz, an eight-and-a-half-hour rendition of The Great Gatsby, a small desk clock was manipulated, leaving the audience to wonder if actors or characters were keeping time. Additionally, Nat Randall and Anna Breckon’s 24-hour The Second Woman, with 100 repetitions of a scene, remained front of mind throughout its duration.
Embracing High Risk and High Reward
While long run times can be daunting, the critic encourages audiences not to shy away. These productions offer high risk and high reward, providing a rare sense of being fully embraced and cared for by art. Short plays serve as perfect snacks for everyday life, while long plays are feasts that demand and reward commitment. The ideal theatrical diet includes room for both, avoiding the middling danger zone that fails to captivate.
