My mail the other day included a clipping from Seattle magazine, sent to me by my mother, about a Seattle theatre that plans to stage plays in elevators later this spring. The clipping, in its entirety:
Going up? You are if you’re joining Seattle’s edgy Annex Theatre for its series of Elevator Plays. Held in a yet-to-be-determined high-rise downtown, the series features 30-40 60-second plays calibrated for the tight time and space confines of an elevator ride (claustrophobics beware!). Switching elevators to see different plays, audience members get a visceral experience of the ups and downs of experimental theater.
The performance, unfortunately, has been postponed, (here’s a similar project in Louisville, KY) but there’s something tantalizing about using an elevator as a stage. It is a constricted space—temporally, physically, culturally—and it would be a fascinating project to use those constraints in pursuit of an artistic goal. How do you play off of these constraints? Does an elevator play follow (or have time to follow) Freytag’s pyramid? Do you treat the space as a kind of condensed theatre in the round? And how do you address the cultural proclivities—not speaking, even distribution, avoiding eye contact—that people carry with them into elevators?
Elevators, because of these constraints, can’t be treated as a normal stage. To perform a thirty-second Hamlet or Waiting for Godot in an elevator, to an audience clustered against the back wall, misses the point: An elevator play should not transpose conventions of theatre into a space not designed for them, it should seek out the incongruities between the theater and the elevator and exploit them. It should find the cracks, force them open, and pour itself into them. The plays become thirty-second conversations overheard by the audience. The smallest gestures—hitting a button, shrugging, shifting weight—are freighted with new meaning.
In this incarnation, the elevator play is a framing device. This is site-specific theatre at its most subtle. The actors and their conversations don’t appear any different than the people we see and the conversations we overhear everyday. The frame’s the thing: By cloaking their activities in the robes of theatre, by putting the frame of art around the mundane, we are able to direct and channel the attention of the audience, focussing it on a thirty-second snippet and encouraging a search for deeper meaning. (See Joshua Bell’s performance in a DC Metro station for how people respond to frameless art.)
The box of the elevator cab stands empty, ready to receive physical or cultural freight. I’m reminded of Jeff Stark’s I.R.T.: A Tragedy in Three Stations, which staged the history of the New York City subway system inside the New York City subway system, and of Colson Whitehead’s The Intuitionist, a book that uses the rise and fall of the elevator as an extended metaphor for racial uplift. An ideal elevator play would be a sort-of meeting of the two, a work staged in elevators that simultaneously played off of the constraints of the elevator and found deeper meaning in its structure and history.