Oleanna is a nightmarish vision. Its world is one in which political correctness allows language to be so undermined that it can no longer be relied upon as our means of representing ourselves. This nightmare is also very plausible, however, and this is what makes David Mamet's play such a compelling piece to watch. A college professor, John, and his student, Carol, have their first interview at Carol's instigation. She wants an explanation of John's classes, his book, and of his teaching method; she is angry and upset because she does not understand what she is supposed to be learning. He tries to help her, but cannot tear her away from an obsession with literalness which leads to misunderstanding and, disastrously for John, misquoting. John is anti-establishment yet in the establishment; although he questions the values of higher education, he is still forced to work within its parameters. Carol is anti-establishment too; for her, however, the establishment is John, and his attitudes and methods of teaching. Their second interview takes place after she has filed an official complaint against him, alleging sexism, tyranny, flirtation and attempted bribery. The complaints are all drawn from misinterpretations of John's attempts to help Carol with the difficulties she is having with the course. Being either deliberately malicious, or vastly mistaken, she misquotes her professor and incriminates him in numerous ways. John finds himself unable to refute Carol's complaints because she has become, through her minority status, more powerful than him. Language, which should be available to John as an adequately descriptive and precise means of communication, is disabled by the imposed reading of political correctness which pollutes his every word. When he cannot articulate himself verbally he resorts to physical force, but this only fuels Carol's case against him. By the end of the play the audience is bound to sympathise with John. Carol uses language as a weapon against him so effectively that his violent retaliation is understandable, even if it is not in itself a good thing. John may be a little tyrannical in the classroom, he may enjoy the power he has as a teacher, but this power is inherent in his position, and we have no reason to suppose that he has abused it. Carol however challenges the very model of a student-teacher relationship. She is able to destroy his life because the establishment which should support and uphold John's position is perverted by the influence of political correctness and positive discrimination. This is a powerful play, and the character of John is compellingly played by Chris MacDonnell. His counterpart Amy Bayless portrays Carol too gently however. Where her insidious words should be spat out, they are too perfectly recited to be convincing, although she does achieve a good dramatic tension, especially in the later scenes of the play. The production communicates very well the frustration which occurs when a person is denied the possibility of speaking for themselves. It is a pertinent reminder for us all, in this age of buzz words and sound-bites, that language is a precious tool without which we are debilitated. Emily Hardiment 22.6.00 |
