Transcript of my opening remarks at the Risk Theatre book launch and staged reading of In Bloom at Langham Court Theatre. Sunday, October 20, 2019. Thanks for reading, until next time I’m Edwin Wong and I’m doing Melpomene’s work.
We have for you tonight risk theatre, a bold new asset to create and interpret literature. With us … Brooklyn playwright Gabriel Jason Dean, the winner of the Risk Theatre Modern Tragedy Competition (https://risktheatre.com/)is in the house! His play IN BLOOM takes $8000 cash, a $1000 travel stipend, and a workshop. I see here competition manager Michael Armstrong and Michelle Buck, Langham Court Theatre’s general manager. They’re the heart and soul of the project. Langham Court board member Keith Digby is in France. He’s a force guiding the project. Our performers: Arian Aminalroaya, Cam Culham, Douglas Peerless, Steven Piazza, Rahat Saini, Gene Sargent, Jason Vikse, and Wayne Yercha. Michael Armstrong directing. Let’s have a round of applause for everyone!
We’re here tonight to see if risk theatre, a new theory of tragedy, can attain proof of concept. The spark of risk theatre came from a book on stock market crashes: The Black Swan: The Impact of the Highly Improbable by Nassim Nicholas Taleb. He argued that traders, by taking excessive risk, trigger catastrophic low-probability, high-consequence events. When I read it, I thought “Replace ‘trader’ with ‘hero’ and you can give critics and playwrights a model of tragedy that resonates with modern times.”
My new book The Risk Theatre Model of Tragedy: Gambling, Drama, and the Unexpected binds tragedy with modernity. Michelle Buck, Keith Digby, and Michael Armstrong saw the potential of making risk the dramatic fulcrum of the action, and we inaugurated an international playwriting competition based on risk theatre. We fed the spark and it became a flame.
Next came the jurors: playwrights and critics of renown: Yvette Nolan from Canada, Armen Pandola from the US, and Sally Stott from the UK. They read the scripts blind. Of the 182 plays from playwrights in 11 countries, they selected Gabriel Jason Dean’s In Bloom to champion the risk theatre concept. We fed the flame. It became a fire.
Tonight we want proof of concept. We’re staging a reading of In Bloom so that you can decide. Does risk theatre work? What happens when you make risk the dramatic centre of tragedy? Do protagonists trigger catastrophic low-probability, high-consequence events by making delirious wagers? Can the risk theatre model ignite a resurgence of interest in tragedy?
We’re starting to gain traction. Theatre departments are launching courses to explore risk theatre. Historians are adapting risk theatre to the writing of history and biography. Theatre suspends disbelief, and, as you watch In Bloom, I want you to suspend your ideas about catharsis, tragic error, the Apollinian and Dionysian, alienation effect, and ethical collisions. Think instead on how the hero’s concentrated position triggers low-probability, high-consequence events. Join us as we transform risk theater into a roaring blaze so that years from now we can say: “We were there with risk theatre in those early days when risk theatre was a green shoot on the fertile soil of theory!” Thank you for coming, enjoy the show!