Dysfunctional Relationships and the Theater
So E and I were having an interesting conversation last night. For some years, I've been in the habit of referring to the song As Long As He Needs Me from Oliver as "The Ode to Codependency." I mean, it's got a pretty melody and all, but the lyrics are pretty much a perfect illustration of an abusive relationship. He makes her life miserable, and she comes back for more, because, well, he "needs" her. Sure he does...it takes awhile to train in a good punching bag ::rolleyes::. And, of course, as those who are familiar with Oliver Twist know, he kills her in the end. Really romantic, isn't it?
But wait...that's far from the only dysfunctional, or just plain unhealthy relationship model in a well-known musical or play. My Fair Lady , anyone? Higgins treats Eliza like a servant. Granted, she wants to learn to speak correctly. But she gets no credit from him or from his friend for how hard she works, or for how intelligent she clearly is. And in the end, she comes back for more. Never mind that Higgins is clearly the classic repressed Victorian male. I'm guessing he's about as much fun as...oh, I don't know...wet pasta... in bed.
How about Guys and Dolls ? Which is considered by many to be the quintessential American musical. So, you've got Sky and Sarah, and Nathan and Adelaide. And both Sarah and Adelaide decide to marry their respective guys, and then change them afterwards. Yeah, 'cause that works SO well. That's not even considering how Nathan and Adelaide have been engaged for umpteen years...and she sticks around, while everything is more important to Nathan than she is.
It's not only older stuff, either. Take a look at The Phantom of the Opera , for example. Ok, it's true that the Phantom has reasons for being the way he is. Try growing up the way he did, and see how functional you turn out. He may be a genius, but he's also a stalker and a murderer. Granted, at the end he does let the heroine and her love interest go...but how realistic is that, really? Now, to an extent, you can blame it on the source material. That's more or less what happens in Gaston Leroux's original novel. That still doesn't make it a good model for a relationship.
Then there's Ibsen's Doll House . The heroine in that one is pretty much her husband's toy. She exists to please and amuse him. Ok, in the end, she walks out. So that's something, anyway.
And then there's Desire Under the Elms and A Streetcar Named Desire . Come on...these people would be booked on Jerry Springer for a solid week these days.
Last but certainly not least, how about Who's Afraid of Virginia Woolf? - which, by the way, I was lucky enough to see at the Guthrie with Patrick Stewart. Yes, it was as awesome as you think. But, wow...these people need medication. And therapy. Lots and LOTS of therapy. And did I mention, LOTS OF THERAPY????
I don't know if there's any real point to this, other than I thought it was an interesting train of thought. I did jokingly suggest that it would be an interesting dissertation topic for a doctoral candidate in theater, or maybe psychology.
But wait...that's far from the only dysfunctional, or just plain unhealthy relationship model in a well-known musical or play. My Fair Lady , anyone? Higgins treats Eliza like a servant. Granted, she wants to learn to speak correctly. But she gets no credit from him or from his friend for how hard she works, or for how intelligent she clearly is. And in the end, she comes back for more. Never mind that Higgins is clearly the classic repressed Victorian male. I'm guessing he's about as much fun as...oh, I don't know...wet pasta... in bed.
How about Guys and Dolls ? Which is considered by many to be the quintessential American musical. So, you've got Sky and Sarah, and Nathan and Adelaide. And both Sarah and Adelaide decide to marry their respective guys, and then change them afterwards. Yeah, 'cause that works SO well. That's not even considering how Nathan and Adelaide have been engaged for umpteen years...and she sticks around, while everything is more important to Nathan than she is.
It's not only older stuff, either. Take a look at The Phantom of the Opera , for example. Ok, it's true that the Phantom has reasons for being the way he is. Try growing up the way he did, and see how functional you turn out. He may be a genius, but he's also a stalker and a murderer. Granted, at the end he does let the heroine and her love interest go...but how realistic is that, really? Now, to an extent, you can blame it on the source material. That's more or less what happens in Gaston Leroux's original novel. That still doesn't make it a good model for a relationship.
Then there's Ibsen's Doll House . The heroine in that one is pretty much her husband's toy. She exists to please and amuse him. Ok, in the end, she walks out. So that's something, anyway.
And then there's Desire Under the Elms and A Streetcar Named Desire . Come on...these people would be booked on Jerry Springer for a solid week these days.
Last but certainly not least, how about Who's Afraid of Virginia Woolf? - which, by the way, I was lucky enough to see at the Guthrie with Patrick Stewart. Yes, it was as awesome as you think. But, wow...these people need medication. And therapy. Lots and LOTS of therapy. And did I mention, LOTS OF THERAPY????
I don't know if there's any real point to this, other than I thought it was an interesting train of thought. I did jokingly suggest that it would be an interesting dissertation topic for a doctoral candidate in theater, or maybe psychology.