"The Year of Magical Thinking" is a play written by Joan Didion based on her memoir of the same name. The play debuted on Broadway in 2007 and received critical acclaim for its raw and emotional portrayal of grief and loss. The story revolves around Joan Didion herself, who reflects on the year following the sudden death of her husband, writer John Gregory Dunne. The play is a powerful exploration of the human experience of grief, as Didion grapples with the shock and pain of losing her spouse. Throughout the play, Didion explores the different stages of grief, from denial to anger to acceptance. She delves into the complex emotions and thoughts that arise during the grieving process, offering a deeply personal and intimate look into her own experience.
Rigid and rigorous: Sarah Day on playing Joan Didion
By Scott Gordon, Arts Extract, September 2, 2014.
Based on the book by decorated literary journalist Joan Didion, The Year of Magical Thinking recounts the twelve months following the unexpected death of her husband, and concurrent hospitalization of her only daughter. Didion scrupulously observes her own behaviour during her daughter s prolonged hospitalisation in Los Angeles, even avoiding any venue that could stir painful memories.
She delves into the complex emotions and thoughts that arise during the grieving process, offering a deeply personal and intimate look into her own experience. "The Year of Magical Thinking" is known for its poetic and lyrical language, as Didion skillfully blends her profound thoughts on grief with vivid descriptions and introspection. The play also incorporates elements of magical thinking, as Didion tries to make sense of the unimaginable loss through irrational beliefs and superstitions.
The Year of Magical Thinking
S ome shows are impervious to criticism. And only the stoniest heart could not respond in some measure to Joan Didion's play, based on her memoir, about the death of her husband and their daughter. But, for all the brilliance of Vanessa Redgrave's performance and the sensitivity of David Hare's production, I was less emotionally pulverised than I had expected.
I put this down to the venue. Having played the 767-seat Booth Theatre in New York, Didion's work is now at the Lyttelton, which is an inhospitable space for a one-woman show. The play depends upon an intimate bond between actor and audience hard to achieve in this rigidly geometrical theatre. Admittedly Bob Crowley's gradually unfolding backdrops of misty marine vistas look supremely impressive. But even an artist as skilled as Redgrave finds it difficult to converse with a two-tiered audience in a quasi-cinematic space.
A pity, since the content is so powerful.
What it reveals, above all, is the dislocating madness of grief. Didion, clearly a woman of implacable intelligence, finds it impossible to come to terms with the death of her husband, scriptwriter John Gregory Dunne, in December 2003.
Even as a friend informs the New York Times of his death, Didion wonders if he could still be alive in the different time zone of Los Angeles. And, when she bundles his clothes into bags, she hangs onto his shoes against his possible return. This is what she means by "magical thinking": the primitive belief that if you take a certain course of action, the desired consequence will inevitably follow.
Didion also brings her priceless reportorial gifts to bear on the subject of the death of her daughter, Quintana, 18 months later, from pancreatitis.
Didion scrupulously observes her own behaviour during her daughter's prolonged hospitalisation in Los Angeles, even avoiding any venue that could stir painful memories. Yet she emerges from this irrationality into a fierce sanity that leads her to conclude "there comes a time when we must relinquish the dead".
Redgrave brings to all this her own unique emotional transparency. She inhabits the very soul of the character, and lets you see Didion's honesty, guilt, irony, and capacity for self-examination.
The rare moments of naked suffering, as when she cries "Why didn't he come back?", also acquire a visceral power. It is a consummate piece of acting, reinforced by Hare's austerely beautiful production in which effects, such as a distant sound of funeral bells, are kept to a refined minimum. But, although the evening is undeniably impressive, it rarely for me became a fully shared emotional experience.
· Until July 15. Box Office: 020 7452 3000.
APT's 'The Year of Magical Thinking' is no trick but the genuine article
By Dave Begel, OnMilwaukee.com, June 29, 2014.
One of the recurring themes in the play is the fragility of life and the unpredictability of death. Didion reflects on the fleeting nature of existence and the profound impact that death can have on those left behind. She also contemplates the concept of time, questioning its meaning and significance in the face of loss. Overall, "The Year of Magical Thinking" is a deeply moving and thought-provoking play that explores the universal themes of love, loss, and grief. Its personal and introspective nature allows audiences to connect with the raw emotions portrayed on stage, making it a memorable and impactful theatrical experience..
Reviews for "The Role of Hope in "The Year of Magical Thinking" Play: Finding Light in the Darkness"
1) Sarah - 2/5 Stars - "I had high expectations for "The Year of Magical Thinking" play, but unfortunately, it fell short for me. The pacing was incredibly slow, and I found myself bored and uninterested in the main character's journey. The dialogue felt forced and unnatural, and I struggled to connect with any of the characters. Overall, I was disappointed with this play and would not recommend it."
2) John - 1/5 Stars - "I found "The Year of Magical Thinking" play to be incredibly dull and unengaging. The story lacked depth and failed to evoke any emotional response from me. The set design was minimalist to the point of being non-existent, which added to the lackluster experience. The acting was mediocre at best, with the actors failing to effectively convey the sense of grief and loss that the play intended to portray. This play simply did not resonate with me at all."
3) Emily - 2/5 Stars - "I had heard great things about "The Year of Magical Thinking" play, but unfortunately, it left me underwhelmed. The narrative felt disjointed and confusing, making it difficult to follow the plot. The play also dragged on for what felt like an eternity, with scenes that seemed to go nowhere. While the central theme of grief and loss is relevant and significant, the execution of it in this play was lackluster. Overall, I was not impressed with this production and would not recommend it to others."