To the editors:
How does Mr. Boeker begin his review? The sixth word is the adjective “tiresome.” Boeker places his value judgment immediately before the reader without even pretending to analyze the production in order to arrive at a reasoned conclusion. Only two sentences further, we read: “. . . this medicine show is about to teach us something, if only we can suffer through the ‘entertainment’ (Boeker’s quotation marks) . . .” Boeker does not restrain from the use of such words as “suckers,” or “bullshit,” which may, perhaps, disguise his inarticulateness.
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Mr. Boeker prefers a single, narrow interpretation of his own to presentation of a particular problem in the production. After he retells the narrative in an abusive tone, he continues: “But wait–that’s not all! You also get the antiwar theme. . . . Indeed, you get far more political baby food than you can stomach in one sitting. . . . I found the intermission the most illuminating portion of the evening, watching River North yuppies–too young and too trendy to have been slapped out of their naivete . . . ”
Surprisingly, Boeker recognizes that the production of Alagazam refers to many established cultural cliche/phenomena. But it has escaped Mr. Boeker’s attention that plagiarism, references, cliche, kitsch, fascination with “low-grade” culture and pastiche are the primary features in the postmodern concept.
Mr. Boeker may be surprised to find out that originality is of the least to postmodern artists. They do not stumble. They are very conscious of what they are creating. They are also articulate and literate. Thus, Mr. Boeker may enrich himself by readings about postmodernism. Postmodern artists, emphatically, address multiple approaches toward their works. They re-examine established concepts and beliefs by not aiming to create new isms, but by using already known structures and images from everyday life. This life of the late 20th century is itself so spectacular that, quite naturally, the creators of Alagazam have turned their attention to the origins of this spectacularity. They address the issue of the powerful production of images in contemporary life. Furthermore, they have re-introduced to Chicago public theatricality on stage.
O.F. Chtiguel
