Greed, lust and unfulfilled desires are themes that are prevalent within works of tragic theater.
But for UCLA theater professor Gary Gardner, director of “Desire Under the Elms,” it’s essential to combine these tragic elements with humor.
“In tragic theater, you have to have fun or else you’ll go crazy,” Gardner said. “It’s important to include lightheartedness so the audience won’t be depressed.”
Gardner lent some of these lighter elements to “Desire Under the Elms,” a dramatic play written by Eugene O’Neill and put on by the UCLA School of Theater, Film and Television. Recreating the Greek myth of Hippolytus, “Desire under the Elms” places this ancient story into 19th century New England. In the play, Ephraim Cabot’s son Eben plans to take possession of the family farm by buying it out from his brothers with money stolen from his father. His priorities completely change when Cabot brings home his new wife Abbie, and Eben begins an adulterous relationship with her.
Usually a director of cheery musicals like “Anything Goes,” Gardner said he wanted to make the heavy themes of “Desire under the Elms” tolerable for audiences, and therefore really tried to incorporate lighter elements.
One such scene that Gardner modified is a serious dinner between the brothers in which flatulence helps relieve the tension between the brothers brought on by Eben and Abbie’s relationship.
“The humorous moments Gardner brought in make for a good space to explore dark themes,” said second-year theater student Dyson Posey, who plays Eben.
Gardner said he also used humor in rehearsals to prevent the cast from becoming too depressed.
In one instance, Posey said he was beating his chest to portray his character’s intense desires and needs. Gardner stopped the scene and started imitating Posey by vigorously pounding his chest “like a gorilla” to show him how to handle the character’s complex emotions, while maintaining a lighthearted atmosphere on the set.
Gardner said “Desire under the Elms” is not produced often because of its complex sets, phonetically difficult New England accents and morally complex themes. However, having taught the play in his Theater 106 class for multiple quarters, Gardner said he felt the themes were important for modern audiences.
“We live in an age of instant gratification, and sex is something that requires more than this kind of thinking,” Gardner said. “I wanted audiences to consider what love and commitment truly are.”
In order to tackle the play’s difficulties, Gardner started with the set problem, which originally included an entire farmhouse, a kitchen big enough for a square dance scene and three bedrooms. Gardner included only a slice of some of these rooms and a yard with a swing to prevent the characters’ actions from becoming static in such a limited space.
The problem with the accents was less troublesome to deal with, Posey said, since in rehearsal he and the other actors noticed the story was more action-driven because of the characters’ passionate emotions, lessening the importance of the accents.
Although the play takes place in the past, third-year theater student Sarah Lyddan, who plays Abbie, said the themes of “Desire under the Elms” are universal and will resonate emotionally with audiences.
“All the characters want to be in possession of something and feel a sense of home,” Lyddan said. “Every person experiences this, which makes the play basic and very accessible.”
The relatability of “Desire under the Elms” is one of the core reasons why Gardner said he believes young audiences will connect wholeheartedly with the story.
“A good play should challenge you and make you think about your soul,” Gardner said. “I want people to go out for coffee afterwards and want to talk about the moral ambiguities.”