IMPRESSIONS OF "DYING" by MIKE NGUYEN As I Lay Dying is an adaptation of William Faulkner's novel about a family's quest to Jefferson County to bury their dead matriarch, Addie Bundren. The story takes place in rural Mississippi during the post civil war era and is meant to portray the struggle and resiliency of the human spirit. I was very excited to see this play after realizing that among the many productions available in Los Angeles, it had received positive reviews. A rendition of a highly celebrated novel written by a Nobel Prize recipient; I was in for a treat. But after two hours, I was left somewhat unfulfilled and a lingering sense of lacking puzzled me. Was I expecting too much? Perhaps. After all, the acting was good and the show was rather entertaining. But something was definitely missing. I knew this because unlike other productions that I have seen which carry a heavy message, this one did not impact my soul in any way, or propelled me into any thought provoking depth. While I am not a leading authority on William Faulkner, I knew enough to understand that his greatest works, though ostensibly light on surface, embody dense meanings. They have the potential to move people. Underneath the uncouth storyline, the novel As I Lay Dying is said to contain an undertone of 'profound and compassionate humanism that celebrates the tragedy, energy, and humor of ordinary life.' Disappointingly, I felt the adaptation was successful in highlighting the humor, energy, and tragic, but had shortcomings in its attempt to display the splendor of humanism and compassion. Faulkner's tragic and ironically comical story is meant to illustrate the strength of mankind and his ability to 'move on with life.' Through the Bundrens, we feel the pain, live the situations, and share the faults. From them, we notice all that is different but similar among us; and from this, we relate and sympathize; and then, we begin to see our humanism. But this failed to happen. The adaptation of Faulkner's novel did not stir my emotions. I wasn't able to place myself into the Bundrens' shoes to march for their causes. Their world did not subsume me; it was foreign. I was just an outsider looking in. Consequently, the sad events that revolved around Addie's death were interesting, but emotionally un-stimulating. I was not moved. The novel As I Lay Dying has been described as inherently 'fragmentary' in presentation, but maintains 'admirable unity.' This 'fragmentation' is by no means a negative criticism but simply a description of how the story is told, as the narration is conducted by many characters, instead of a particular protagonist. While the play carefully followed Faulkner's unique multi-faceted approach, it may have pinned itself too closely to this framework to its disadvantage, for a lurking sense of incoherence thrived. Throughout the production, a certain lack of focus seemed pervasive. In my opinion, there were too many voices vying for our attention and support, which resulted in a dilution of the characters. As I was busy getting to know all of them, I ended up knowing no one. Would I have been more emotionally affected had the play placed a heavier emphasis on the development of certain characters, showing more than one of their human sides? For example, had I saw more pain and sorrow instead of constant scorn and bitterness from the characters, would I have been compelled to develop a more compassionate perspective overall? Probably. On the same token, could the setting and exposition of the play be improved? Possibly. For instance, as each of the characters' personal situations was being underlined, the family's welfare as a whole became a dim backdrop, an abbreviated footnote. Those unfamiliar with Faulkner's novel may not fully fathom the family's extremely poor situation. Set in the aftermath of the Civil War's ravaged South, the Bundrens were in many ways, products of the time and environment. In my view, the various signs in the play which hinted to their meager condition lacked the strength to draw a meaningfully sympathetic understanding. Deficient of an appropriate appreciation for their circumstance, it was easy to view them as self-serving egoists, instead of arguable victims. Instead of evoking compassion, a feeling of repulsiveness ruled. It should be acknowledged that adapting such a complex novel into a two hour play is difficult. After all, there were many protagonists, not just one. Many events, diverse thoughts, and competing voices had to be considered and balanced. So to sufficiently measure and capture each character's past, his struggles and sufferings, and interweaving the nuances necessary to open our emotional eye is not an easy challenge. But a good play must draw open our emotional eye. It is absolutely necessary, for without the ability to watch from this level, we look but don't see; we sense, but are not touched. Acceptance and sympathy lose to judgment and apathy. When it's closed, separateness exists, and we glance from afar. Instead of living and breathing the story, we are a mere audience, and the energy and artistic passion feel imposed rather than naturally flowing from within. For one reason or the other, my emotional eye was closed. As such, I had little concern for the characters and did not support the Bundrens' ordeal. I did not care for the father's selfish desire for new teeth, nor the daughter's desperate attempt at abortion. I couldn't sympathize with the favorite son's perpetual anger or the middle son's justified resentfulness. Would they be able to fulfill the matriarch's last wish to be buried in Jefferson County? ã it didn't matter. Faulkner's masterpiece employs a multi-dimensional format in order to weave the different personae into a paradoxical unison. His contrasting technique presents the characters' diametricism at such a level that breaks down their crass exterior, revealing to us their common hue, a humanistic unity. The play, however, lacked a certain emotional drive and fell short of delivering me to a point where I could see past the surface, to the humanism that is said to radiate from the book. And unlike the luminescence that emanate when all the spectrum of colors are infused together, this unity and its profound meaning remained elusive; Faulkner's mosaicism blurred. CLOSING STATEMENT: It is an honor to write a second review article for the Colveyco Newsletter. Mr. Cole's encouragement to be true to my perceptions and impressions about "Dying" intrigued, inspired and provoked a heightened sense of awareness while observing the Open Fist Theatre Company Production. It is a joy to have a voice! BIO-PROFILE: Michael Nguyen, born in Saigon where he lived until the age of five, came to America two years after Vietnam fell to communist rule, when his mother made a decision to flee the country with her seven children in search of a better future. He grew up in Orange County, and went to the University of Southern California where he earned a Finance Degree, which enabled him to work as a Management Consultant for five years. Towards the middle of 2002, Michael took a sabbatical to reevaluate the direction of his life and to consider alternate career paths which would lead him to his greater passions. After backpacking alone through Europe for over two months during that summer, he has since returned and currently aspires to be a professional writer. Mr. Nguyen has a broad range of literary interest, but particularly loves to read books on Eastern Philosophy and spiritual advancement as well as enjoys meditating in his spare time while residing in Los Angeles. May Newsletter Go To Current Newsletter Read Mr. Nguyen's previous review of Bill Viola's Getty Exhibit: "Impressions of The Passions"