BLACK COMEDY ESSAY || LINDA PHOMPAK
Mcdonagh’s The Lieutenant of Inishmore and Labute’s The Shape of Things proposes to express the
diametrical pure state of human nature explored through a theatrical series of conceptual, technical
and experimental exercises. Strategically, both plays delineate the notion dictated by thought, in the
absence of any control exercised by reason, exempt from any aesthetic or moral concern. As for the
conception and layout of the plays; constellations of the “controversial” and the taboo corresponds to
prevailing themes/concerns at different stages to render a cathartic experience. The point of any
black comedy, through extensive manipulation of forms, styles, techniques and conventions of
theatre, is to stress our willing openness to the unexpected, holding our mental material and emotive
selves, in so far as possible in a pathological state of readiness.
The Lieutenant of Inishmore demonstrates the creator’s affinity for dark and disturbing material that
somehow manages to be ruthlessly comedic. Mcdonagh draws on numerous histrionic tactics to
evoke a sense of thought within the audience regarding Ireland’s political situation. The notion of
comedy and cruelty runs right through scene 9; Donny: “won’t your mum be upset, your Mairead
joining the paramilitaries Donny?” The stage action’s illustration comprises of Donny and Davey
chopping up the bodies of two of the INLA members –Joey and Brendan. Padraic is sitting on the body
of the third INLA member Christy, who has the ‘Wee Thomas’ cross stuck in his mouth. Padraic is
caressing the body of his dead cat. Theatrical techniques practices and explored on stage are
confronting, visual images, incongruity, contrast and detachment. As an audience member, we on in
discomforted silence, assailed as they were with images of feline slaughter, casual torture, cow
blinding, all underpinned with escalating theatres of ever more explicit and inventive brutality. Yet as
the absurdities and the corpses continued to pile up front of us, this act of collective repression in the
audience began to feel increasingly strained with finally, at the opening scene nine… the belatedly
burst and the auditorium exploded with laughter. The play rode massively cathartic surge of slightly
hysterical energy powered by the very constraints which once held it in check.
Evidence of how McDonagh openly grapples with the difficult relationship between cruelty and
comedy was presented to me during a viewing of a performance of scene two for a class assessment.
The actor playing James was suspended “upside down from the ceiling, his feet bare and bloody”
centre stage, illuminated only by dim spotlighting. This visually impacting set design firmly implanted
the terror and brutality of torture in my mind and was accentuated by the manner in which Padraic
sadistically tortured James by wrenching out his “fecking toenails” in an exaggerated manner.
However, I became aware of the comedic potential of the scene when the actor playing Padraic used
a casual tone and dialogue to pondering whether “The general hospital does hand them [crutches]
out”, which reinforced the idea that playwrights such as McDonagh can harness the brutality and
violence associated with torture to create an impacting and humorous experience for audiences.
In the opening scene of The Lieutenant of Inishmore, the playwright uses conventions of black
comedy to make the audience laugh at pain and loss. The first element of loss is introduced by
Mcdonagh through Padraic’s dead cat. Donny and Davey’s comedic quarrel, including the opening line
“do you think he’s dead Donny?” –creates laughter due to the obvious nature of the situation. Visual
comedy is employed by Mcdonagh, the use of a “dead black cat”, so the audience can make a
comedic connection. The use of sarcasm and exaggeration accentuates the characters and their
situation. Mcdonagh’s characterisation of Donny and Davey highlights the absurdist nature of
mindless violence within this play. The pain and loss presented in this opening scene was exemplified
in a practical workshop where we focused on the combination of the benign and violent. Our focus on
the violence of the plays enabled us to make a stronger connection with pain in the play. By
investigating further, I was able to identify different situations where violence and benign were
juxtaposed, and pain and loss was evident. Looking closely at the texts ensured that Mcdonagh’s
purpose of highlighting lack of civil connection and society’s decline in morality was clear.
Neil LaBute’s play The Shape of Things, uses Black Comedy as a mechanism to delve into diverse and
provocative issues and themes. Black Comedy can be defined as a satirical treatment of taboo
subjects, which in usual circumstances are considered uncomfortable topics of discussion. In relation
to the play, Neil LaBute explores themes such as; the nature of romance; and the meaning of truth in
relationships as well as in art. The play provides the audience with an insight into the devastating
consequences such issues can have upon a relationship through the characters of Adam and Evelyn.
Elements of humour and Realism are used to confront an audience with human experiences of pain,
loss, the controversial and the taboo.
Labute’s The Shape of Things challenges the constitution of art; humour is created by teasing the
taboo on sensitive issues. Labute’s bold and conventional where he plays attention to music; he uses
The Smashing Pumpkins during the transitions between the scenes in the production. The loudness
and intensity of the music created an inability for the audience to converse or compare notes during
the performance run. It forces each audience member to remain in their own glorious isolation
contemplating the production and as isolated perhaps as Adam feels by the end of Evelyn’s
monologue. Labute wanted the unveiling of Evelyn’s project to hit hard. He locked his audience into
his rather black journey. The audience remain entertained by the deep exploration of thematic
concerns of greed, lies, transformation, creation and obsession. The concept of reshaping or
remodelling is inarguably apparent in Evelyn’s final monologue. During the final scenes of the play,
light was shone from the back of the theatre to illuminate the audience, allowing us to become part
of the play as an accessory to Evelyn’s “graduate thesis project” and giving us an enhanced view of
Adam’s discomfort onstage. The actress playing Evelyn depicted her character’s callous and
disconnected personality by and employing pale white lighting that remained centred on her and
expressing little emotion in her delivery Her references to Adam as a “sculpture”, “base material” and
“my creation” generated feelings of surprise and disbelief within me, motivating me to laugh at the
morality of the play as Adam’s manipulation by Evelyn became apparent. The tragic and exaggerated
events that happened throughout the play gives the audience something to laugh about because of
irony of incoherence, insanity, and the submission to abuse the boundaries of art.
The Shape of Things is humorous because of the characters display of grotesque behaviour. Labute’s
characteristic style as well as the variations in style that create differences in tone, ranging from
comedy to thoughtful contemplation. The Shape of Things predominately uses dialogue to effectively
communicate controversial and uncomfortable issues to audience members and to highlight the
humorous aspects of the play. During a rehearsal of the living room scene, my group actively
developed the flagrant and “obnoxious” nature of Phillip as a means of generating laughter within the
audience. Using bright, focused lighting and minimal props, elements of tension and amusement were
created through Philip’s close proximity to the other actors, as they steadily moved closer to one
another throughout the scene. Philip’s questioning of Adam, “where in hell did you meet that bitch?”
was also unexpected, motivating me to empathise with Adam’s misery yet laugh at his unfortunate
circumstances, reinforcing the dichotomy of comedy and suffering.
Both performances are riveting plays that comprises of convulsive beauty and objective chance –in
terms of the uncanny; anxious crossings of contrary themes consistently remained hysterical;
between the magnitude of the confusion and the magnitude of the reactions to the confusion is what
creates the comedy. These black comedic performances elevate the audience to a higher plane of
awareness, thereby reawakening the audience’s capacity for feeling and emotion.