When Wallace Shawn wrote
The Fever in 1990, much of its
content must have seemed either metaphorical or wildly exaggerated for
purposes of liberal guilt. Now, revived to open a Shawn season at the
Royal Court, it feels horrifyingly as if the world has fallen into line
with the play’s grimmest excesses.
The 90-minute monologue is delivered by a prosperous, moderately
intellectual visitor to an unnamed country, who in a fit of night
sweats free-associates through contemporary world events, their own
past life and imagined episodes with little indication which is which.
The outer and inner worlds are alike dominated by the narrator’s own
complacent class, who give “the poor” (the phrase tolls through the
play) vague promises of some amelioration in the future, but when
pressed resort to oppression, torture and the language of
totalitarianism. The shock, for me, came in realising how much of that
intemperate language has passed into the mainstream of political
discourse in the eras of Gingrichism and then the War on Terror. The
balance of global wealth is no more equal now, various sub-groups of
“the poor” are now better organised and more violent, and the narrator
class seem less inclined to vex ourselves about it. The piece can
almost sound like agitprop today.
Dominic Cooke sets the performance on a deliberately undesigned stage,
with no black drapes or flats, a couple of flight cases and some
stacking chairs on which Claire Higgins, dressed in a simple white
shirt and jeans, sits for much of her performance. She adopts a mild
East Coast American accent as if to confirm that her character comes
from Shawn’s own milieu, even though her origin (and even gender) is
unspecified. She speaks in fairly moderate tones throughout: Shawn’s
plays are not about passion, shrillness would tear their webs. I have
to admit it is easy to drift in and out of the words, as if partaking
of the same fever, which is the unreality of comfortable modern
existence. Ultimately, though, the play (originally written for home
performance before perhaps a dozen spectators at a time, almost as a
dinner-party
indigestif)
remains a work of liberal guilt, a self-indictment of our complacency
yet also behaving as if the resulting discomfiture were all the
punishment or penance we needed to undergo.
Written for the Financial
Times.