The below post is written by Jonny Potts, the actor who played the 'morbidly obese' Galen Widders in the play No Taste Forever by Paul Rothwell, currently playing at BATS Theatre. I wrote about the big fat related problems that I had with the show here and this is Jonny's response. Even though I don't agree some of the stuff he is saying, I still think it is pretty cool that he has written this and wants to further the discussion around the show. I think the comments could be a really good place to keep the discussion going. So good, in fact, that I am probably going to write one.
I appeared in a play on Saturday night. This is nothing new, of course, because I am GETTING OLD though intermittently FRESH and FREE-ISH if not as CREATIVE as I should be. I like to spend my time in the capital city sitting in cafes drinking beer and coffee and going to artistic events and immersing myself in CULTURE. The play was called No Taste Forever!. It was written by Paul Rothwell and it was performed at BATS Theatre and Ally had major problems with it. I am now going to write about it.
The first thing I would like to say is that I appreciate how Ally has gone about expressing her feelings about No Taste Forever!. She has not railed against the lot of us for putting the thing on, and in fact praised elements of the production. She's been kind to me in particular. It's easy, when something rubs you up the wrong way, to dismiss the kit along with the kaboodle, and I would like to acknowledge her even-handedness in dealing with an emotive issue. And look, she's giving me the space on her own blog to throw in my two cents. I appreciate the opportunity to post here a great deal, as I was at the centre of an experience which left her feeling so disappointed in another space where she felt at home. So, thanks for the trust, Ally. I am going to disagree with you over some things, and I am going to defend the play. Of course, I'm too close to the show to offer an objective take on it, so I am not going to address whether or not the production is worth anyone's time or money. Having said that, y'all should come down to BATS and see it, because it's not going to get a DVD release.
I apologise if this response seems scattershot. I had to write it in snatched moments between work, play-acting and the little extramural eating I am doing over these couple of weeks. I really hope that in my haste I have not said anything which offends. I am aware that some may consider defence of a production which features a fat suit an indication of the systemic marginalisation of fat people which Ally cites in her post. I do not want to be seen as someone siding with the people responsible for this or this or this. So let me denounce all that shit right now, and acknowledge unequivocally that there is indeed a problem with the way bodies are presented in the wider media, and it causes real damage to people. I am not comfortable that something I am doing is being seen as a continuation of this prejudice. I am not active in the fat acceptance movement, nor very familiar with its history or goals, but from the little I have read I find myself in agreement with its principles. I do feel a bit out of my depth posting on a blog which is read by people with more knowledge of the field. So, if you consider my arguments to be naive or wrongheaded, please point that out, dear reader. I have no desire to have the last word on the matter.
OK, I'm going to take a look at some of the points raised by Ally. I suppose I should SPOILER WARNING this.
Though he can be an insufferable blowhard, I am with critic Robert Hughes on this: the role of art is not solely to enlighten. Art's primary function is not to change society for the better. Peter Brook's Manifesto for the Sixties contends that 'no work of art has yet made a better man'. I am not saying that it is impossible for art to have a positive effect on the world or individuals, but art need not always do good.
Mention was made in Ally's post of the predictable roles for females in No Taste Forever! I was surprised to read that 'dead child' is now considered a predictable, 'yawn'-inducing role for women to play. Then there are the 'lesbians'. The two lesbian characters in No Taste Forever! are lesbians and... well, that's that. Their sexuality is not an issue in the play, merely present. It certainly does not serve to titillate the audience, nor does the play encourage condemnation. But let's consider the representation of men also. A husband and father so consumed by his profession that he neglects his wife and son. A psychopath. An arrogant cock. Yawn? Perhaps. We are dealing with types here, not realistic, fully rounded characters. The types stand in for various issues the play raises, much the way things worked in MINGE, where the type identification was taken a step further. In this play, as in most of Rothwell's work, NOBODY comes off looking good. He's an equal opportunity annoyer. With Rothwell, you get an awful lot of agitation, but not much propaganda. His plays angry up the blood and refuse to ease the mind.
At the end of NTF!, Malcom's magical pill is just an idea without form, an ideal which seeks to deal with a problem by eliminating it entirely. John Smythe's review raised problems with the pill solution, and was right to. I mean, it wouldn't work and people wouldn't want it. Rothwell isn't seriously suggesting we find a pill to replace all food. he is presenting a character so overwhelmed by food that it's the only way out of the whole mess he can see. Hate Crimes and The Blackening also end with characters essentially throwing their hands in the air. All three endings hint as hope, but are largely resigned to helplessness. The problems are just too big, and too much blood has been shed. NTF! is the first time Rothwell has had a play end with the hope/hopelessness cocktail being presented to so many.
Ally writes that NTF! was 'a play that demonised food and that vituperated the audience about their eating habits'. Yep, it surely demonised food, and it dealt abrasively with various attitudes towards food. Food is presented as an antagonistic force and nobody has a healthy relationship towards it. NTF! plays on people's fears about not just obesity, but allergy, eating disorders, manners, ethics, medication and sundry other related issues not by exploringthem as such, but by having them collide into each other inside a dramatic framework. Rothwell does not want to solve anything. He wants to scare you.Ally writes, '[m]ostly, my problem is that in a play about food and food issues, the crying and the KFC were the only depiction of fatness, thus rendering fat as a problem that needs to be solved'. She is right to say that Galen is the only representation of 'fatness', but it is an extreme form of 'fatness': a man who is one chocolate thin away from death. His problem needs to be solved, or it is going to kill him. And the problem is not that he is merely fat, it is that he is supremely unhealthy. Again, EVERYONE in this play comes out bad. EVERYONE has a 'problem that needs to be solved', and nobody can solve any of them. It's not a nice play and it is not supposed to make anyone feel proud of anything. If there was a representation of fatness on stage and there wasno problem attached to it, it would seriously fuck with the dramaturgy. In NTF! anything to do with food is problematic.
Fatness isn't inherently funny, no, though many fat performers have given us lots to laugh at over the years , often using their size as an integral part of their act. There is a cultural familiarity with the jolly fat man. However, Galen does not really fit this, he is more of a sad clown. In playing the part, I do try to elicit some sympathy from the audience, not just have them laugh at the fat man. When I was talking with director David Lawrence about the play a few months ago, I said I would be keen to play Galen (I read the part at the play's first airing in 2008), and pointed out that there is really nobody big enough to play him. Even if we had used a very fat actor, the actor would not have been fat enough. If he was fat enough, he probably would not have had the ability to play the part. Galen is not merely fat, he is so fat he is on the verge on death. If a fat actor should have been employed, which one?
The crux of Ally's post, as I read it, is that this is the straw that broke the camel's back. After being exposed to many negative depictions of fat people in the wider media, here was one in the place she felt at home, and it made her uncomfortable in her own skin. Am I able to say that I respect both Ally's reaction and the rights of Paul Rothwell to write what he did? I am not a fat activist, but I think the world might need them. I am not a controversial though celebrated playwright but I think the world might need them too. To quote an Assange-themed cartoon posted elsewhere on Ally's blog, 'See how I can think both things without my head exploding?'
I would also like to point out that there are actually very few 'fat jokes' per se in the script. Something that might qualify is this exchange, in KFC:
GALEN: Come here often?PETRUS: What? No.GALEN: Me either.PETRUS: You look as if you have.
It's worth noting here that the character of Petrus, a former chef whose taste buds have been ravaged by an surfeit of marching powder, is a dick. He's a nasty, nasty fuckhead and the playwright has him killed in the final scene. I don't think anyone mourns his death. The scene in question shows a character we know to be mean and destructive taking a cursory glance at Galen and judging him for his size. He then snubs him, precipitating the crying-into-the-chicken moment to which Ally took exception. The way I read the scene, we are supposed to feel sympathy for Galen as he is being judged unfairly at face value. He is socially inept largely because when he tries to connect people can't see past his size. This is a pretty tragic way to live your life, and a phenomenon with which I would imagine those in the fat acceptance movement are familiar. When Galen cries it is not supposed to make the audience laugh, and it doesn't. It is the moment in performance when I feel most connected to the audience, despite the fact my head is buried in my hands. The injustice is up there on stage. It is then compounded by a further humiliation. It is tough to watch because the audience actually cares about Galen.
I do think it does the play a disservice to equate the fat character with the laugh-at-me-I'm fat types portrayed by Eddie Murphy. Having discussed the KFC scene, I'd like to shed a little more light on the other scenes Ally mentions early in her post, not to deny that they happen or are uncomfortable to watch, just to give them their proper context:
'[T}he same fat man, whimpering in the foetal position, lying on the floor in a nest of junk food wrappers' - This is a murder attempt by food, which we learn later in the play is attempting to enslave the human race. Galen says that the food 'won't let me stop stuffing it in'. He is in a victim of, as the marketing material has it, 'an insidious force'.
'[H]e carries with him a bag of sweets, a bag that eventually explodes because it is so jam packed with candy' The bag does not explode because it is overstuffed with candy, the candy jumps out as part of its evil plan to knock Galen off. Yes, food is demonised.
'[T]he fat man being so socially inept that all he does at a birthday party AND at a food festival is eat, continuously and voraciously?' The food festival first. Galen makes his way to the festival, resolves to abstain from eating and is then overtaken by the 'insidious force' which hisses 'DIE WITH US! DIE WITH US!' at him before he is overtaken once again. Galen is present at the birthday party because he is trying to escape the force in his fridge. When he arrives at what he hopes will be sanctuary he is overtaken by the force again. This has nothing to do with him being 'socially inept'. He's kind of like Karras in The Exorcist, targeted by an evil, supernatural force. Unlike Karras though, there is still some hope for Galen at the conclusion of NTF!
Galen is not standing in for every fat person. He is so unhealthy he is nearly dead. There are examples elsewhere in the play of characters who do not eat enough and suffer the consequences. Rothwell has taken fears about food and given them form. The play is fantasy. The idea of food operating as some kind of hive-minded supervillain is really quite silly. It is not healthy to demonise food in life, but there is nothing wrong with satirising that rather widespread tendency in a play. And that is really what this is at the end of the day: a satire on our preoccupation with food.
People bring their own experiences and opinions into the theatre with them. Anyone with a strong or particular experience or interest in obesity, bulimia, allergy, anorexia, comfort eating, organics, body image or, for that matter, children who have been run over and killed is going to have a keen reaction to various parts of the play. The play certainly challenges the notion that 'every body is a good body'. Is Daryl's body, which is mathematically fed and exercised, really healthy? What about Fliss, who eats every second day and subsists on Lucozade and multi-vitamins until she gets 'the faints'? Sonya is convinced she is growing a tumour due to her ingesting fertiliser so only eats oragnic food. Petrus has no sense of taste. Baby Emma's delicate frame is crushed. And food has pushed Galen's body to the brink of expiration. Health of bodies and body image are themes in this satire, and the plays joins a long tradition of art which plays on fears we have about our bodies being beyond our control.
There is a play to be written about acceptance of bodies in all forms, but this isn't it. What this play does, among other things, is draw attention to prejudice and fear around the way people view bodies.
I'd like to thank Ally again for giving me the platform to talk about how something I'm doing on stage has affected and could affect people. It's not often an interest is taken to such an extent in anything we do at places like BATS, and Paul certainly wanted to get people talking about the issues raised by the play, even if those issues are in fact the ones he can be seen to have neglected. The thing about Ally's post which I found most unsettling was the idea that Ally did not consider BATS her place any more as a result of a part I played. There is no reason that one play should have any effect on how anyone sees the venue. BATS is still Ally's, but it is also Paul's and David's and mine. It was not the intention of this production to vilify fat people. In rehearsal Galen was never held up as a figure of fun, and the playwright is quoted in the Capital Times expressing affinity with him. I hope those who found the play unsettling will find something of value in the wider discussion.
[Image credit: Photo taken by Vanessa Fowler Kendall, and sourced from the Bachanals Facebook page.]
