BIG LOVE: A WHOLE LOT OF SOMETHING
Reviewed by: Danny Blanda
How does one put into words what Big Love is? I would begin with: a lot. There was a lot of spectacle and not a whole lot of sense. Loosely, and I mean loosely, based off Aeschylus’s traditional Greek play The Suppliants, Big Love tries to tell us something… I think. There may or may not be a lesson hidden in the script, but I believe it is best to just sit back and enjoy it at face value. A warning: the elegant marble-like staircase (with its gymnastic mats) is in fact the most realistic element to the show.
Big Love houses a conglomerate of stereotypical stock characters, each of whom feels the burning need to monologue their personal struggles and points of view. In the words of Oprah Winfrey, “You get a monologue! You get a monologue! Everyone gets a monologue!” In a nutshell, Big Love is part feminism, part Greek tragedy, part American cavalier, and part homoerotic gymnastics.
What this script does well is take a bold risk. The use of body and movement is a refreshing quality to put on a stage. However, I believe the concepts were forced together by the director and playwright. Lines were lost due to both the playwriting and the actors’ body energies swallowing their voices between gasps of air. If you find any coherency in what I’ve said and you need a random hardy laugh, check out University of Alabama at Birmingham’s Big Love.