My off the cuff answers to the two new questions asked on Tuesday were/are:
Our shows reject the notion of a single unifying truth. There is no single correct reading or interpretation of any of our shows. If you approach them listening for a reliable authorial voice you will not find it. If you deem God to be The Author in a narrow sense then this figure does not exist in our worlds.
At the same time, we occasionally find it useful for figures in our shows to hold quasi-Godlike positions. The two figures in Ocean of Storms and the four figures of Home Of The Wriggler appear omniscient if not omnipotent.
Ally hit the mark with her comment on the last entry. Science Fiction allows the modelling of alternative worlds to reflect on this world. As we approached the year 2000 I started to think about how much of our and other peoples theatre work seemed backward looking and somehow nostalgic, tethered in some way to the very early 20th Century or Europe circa World War 2. Bingo in the House of Babel was science fiction, but dressed in 1940s clothing. It seemed time to try and look forward more than back.
I remain fascinated by the question of what Science Fiction theatre could be. It seems like a tough challenge to make because unlike Literature, Cinema, Graphic Novels and Gaming, theatre is bound to our present technological and corporal realities. Science Fiction’s major trope is that it transcends these realities. How do we approach this without wrapping our sets in tinfoil?
Be Proud Of Me and Home Of The Wriggler are some kind of answer. Maybe my next job is to investigate Ken Cambell’s Science Fiction Theatre of Liverpool and find out what that was all about.