Local Theater World Now Stages Nothing but Leftist Propaganda
The world of theater has always had a politically leftward tilt (think of George Bernard Shaw). This is especially true in the nation’s big cities, namely in my hometown of Philadelphia. This is why I keep asking: why have so many theaters in my city forged a cultural alliance with the political Left?
This is not a quiet alliance, mind you, but a rather robust “in your face” ideological bond. Open-minded, sophisticated Philadelphia audiences are being told how to think about immigration, racism, and transgender issues as if the theater world had been taken over by Amy Schumer and the women on The View. In many ways it is like repetitive brainwashing minus the art.
The cultural Left’s transfiguration of the theater world here has been building for years, but it imploded with the election of President Trump. Staged scripts today are so anti-Trump that even the plays that do not mention Trump come equipped with Playbill bomb rhetoric like: “This play from history reflects our own politically troubled times”; or “This play from antiquity mirrors the threats to freedom and justice currently underway in the United States.”
The ideological fog is so thick one has to wonder how the upcoming production of The Phantom of the Opera will be described when it opens at the city’s majestic Academy of Music. Will Playbill render The Phantom as an orange orangutan from Washington?
A good example of Philadelphia’s leftist orthodoxy is the city’s leading comedy theater troupe, 1812 Productions. This highly talented group of actors staged its 12th annual political satire, This is The Week That Is, before the start of the New Year. Most of the material presented was all about -- surprise! -- President Trump. It’s a certainty that the show’s writers felt safe in assuming that audiences here would love everything that Trump hates: be it Angela Merkel, open borders, or sanctuary cities.
Although there was some objectivity in this year’s TITWTI -- the show opened with a hilariously funny skit about third wave “pussy hat” feminism and its war on “man spreading” -- that evaporated when one Trump joke followed another in machine gun repetition.
No poisoned satirical darts were thrown at Angela Merkel and the fine job she’s doing ruining Germany. And nothing was said about London’s Mayor Sadiq Khan, who believes that terror attacks are “part and parcel of living in a big city.” The gloating, pastry-faced Prime Minister of Canada Justin Trudeau, who said that he welcomes reformed Jihadists into Canada because this “will help prevent radicalization,” was left untouched.
Aren’t leaders besides Trump ripe for satire? 1812 Productions did throw a few jibes in Hillary Clinton’s direction, but this attempt at “balance” had the sting of an empty bean bag. The show was a prime example of what happens when too much political correctness freezes the juices of unbiased political creativity.