A riot this play was, in any measure of dramatic integrity. David Rabe’s In The Boom Boom Room was a base hit and a smash for all audiences to love. The play, centering on a painstaking and innocent girl named Chrissy (Sarah King) and her livelihood sure hit the spot.
This play had many flaws however and we shall delve into the problems and solutions that would make this play a lot better. The lighting for instance was just a little too powerful. The play was luminated way too much when it didn’t need to be, and vibrant hues of different colors were not needed to express the drama saw in this play. At a time of the 1970’s we would expect that color would shine, but what events the play delivered in action did not need any extra help from the lighting engineer. It was abnormally hot in the theatre, and not it’s normal temperature at other plays to prove that there was an excess of lamps shining on the stage.
The scenic design of the random looking metal frames on stage didn’t provide any great visibility to the stage being so dull and lifeless. The scenic design didn’t help establish the locale and period of the 1970’s. The title of the play suggested ravishness and that feeling wasn’t felt in stage presence at all. The play was about overall emptiness of these specific characters and the director didn’t convey that overall attitude on stage as well. Black holes or such should have been placed on stage to symbolize the ugliness and emptiness of characters on stage.
The costumes were on par but not excellent. The costumes were supposed to set a historical period of the play, which wasn’t readily apparent without someone on stage verbally saying so. This could be a go-go club at any point in time in the 1900’s. The men’s costumes did not show a time of the 1970’s at all either, as we would expect somewhat of a hippie style deadened down from the 1960’s. Everyone seemed to be dressed the same and no one apparently stood out, as it is the costume designer’s objective to show different relationships toward characters and as well separate major characters from the minor characters in the Boom Boom Room.
The director excelled in many aspects of the show, like connecting the extreme unconnectedness and randomness that is readily apparent in every character that was on stage. Each character had a vision of them as a person and shoved all these aspects of themselves directly at Chrissy who was more than accepting of most of them, while rejecting others. What the director should have done to make this more memorable was to give these supporting characters a couple more lines each, as it is their whole purpose to “support” the major character, while also having subplots of their own. It seemed all the supporting characters of Harold, Vikki, Melissa, Al and Guy were all flat and not one was stronger than the other.
Chrissy, a gutsy actress on her own strict merit was the play in its entirety. Her topless scene at the end tied immediately all events in the play to make it a great structured story with cathartic appeal. She could of interacted with her supporting characters a bit more rather than go on wild rants speaking to the audience.
All in all, this play had strong appeal to the theme of stolen innocence and emptiness. It was a great event to watch and enjoy the extremeness of racism and violence surrounded around an innocent lady named Chrissy (Sarah King). Alas the play should have been written by a woman, because quoting from the line “ how can faggot’s know about what a woman wants?” Well, David Rabe, (playwright) how can you know what a woman wants if you’re not one?