8 of 8 people found the following review helpful:
5.0 out of 5 stars
The great dramatist of our time takes on Afghanistan, February 23, 2004
I have been a huge Tony Kushner fan ever since i read and subsequently performed in Angels in America my first and second years of college. I bought Homebody/Kabul as soon as it came out in paperback, and was fortunate enough to see it performed at the Intiman Theater in Seattle recently. After reading and seeing this play, my love for Kushner and his work has only deepened.
At this point, to call Kushner a master of language is to belabor the point. He capable of provoking any reaction under the sun, from hilarity to pathos to utter despair, with a simple, poetic phrase one moment, then a completely different reaction the next. I also won't waste time your time with my interpretation of the "message" of the play, though it certainly has many messages. The first act of Homebody/Kabul consist of one character (the Homebody) sitting in a chair recounting a selective history of Afghanistan mixed in with stories from her life, for an entire hour! Now, read on the page this can get tedious at times, though the stories are interesting. But Ellen McLaughlin, the masterful actor who performed the role in Seattle, sat on stage in one place for that whole hour and commanded the entire attention of the audience. It was mind-boggling, awe-inspiring, transporting, and reminded me forcibly of the difference between reading and performance. McLaughlin took the, admittedly brilliantly constructed, words on the page and turned them into something vital, poetic, and magical.
The rest of the play deals with the aftermath of the Homebody's decision to go to Kabul and disappear. Her husband Milton and her daughter Priscilla, hearing she has been killed, go to Kabul to recover her body. Soon evidence turns up that she may have taken the veil and married a Muslim man. But she is never actually seen again, leaving the other characters to come to their own conclusions and deal with her disappearance as best they can. Along the way we are treated to hilariously funny moments, such as Priscilla almost setting her burqua on fire with a cigarrette and Milton trying opium and heroin with junkie NGO employee Quango Twistleton, and heartbreaking ones such as an Afghan woman's multilingual rant about the state of her country and a man moved to tears by a Frank Sinatra song.
As a whole the play is certainly not perfect, it is sometimes unwieldy and some scenes seem under developed. But for me this is more than made up for by its scope, ambition, and searching intelligence. This is not Tony Kushner telling us what to think, he is presenting us with historical information filtered through the eyes of some deeply flawed but fascinating and ultimately human characters. In the end, he does not lay blame for the miserable state of Afghanistan on this or that country or faction, but shows how eveyone is responsible and no one wants to take the responsibility of really making it right. See it performed if you can, but if you can't, read the script, mull it over, and come to your own conclusions.
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17 of 20 people found the following review helpful:
4.0 out of 5 stars
A feast of language, January 24, 2003
I was fortunate enough to see this performed in New York last year. This play unleashes great torrents of language and ideas at every turn and is the theatrical equivalent of a clusterbomb. Yet, with time to read and mull, it becomes something quite different.
Years of work and research are hung on the frame of a simple melodrama about a father and daughter searching in a strange country for a wife and mother. Kushner's mythical Afghanistan is a place where the tower of Babel toppled and people speak everything from Russian to Esperanto. The hapless British thrust into this burka'd world will never grasp that we in the west have "succumbed to luxury" -- though perhaps the audience will.
Some other reviewers found the Homebody's monologue dull on the page. I assure you it is quite stirring in performance. The same may be said of much of the play which, like Angels in America, is unwieldy but brilliant. Kushner has admitted in interviews that the play should be trimmed but I think, when reading the play, the overambitiousness is a plus. Kushner is a playwright with a social consciousness, but also a literary and poetic conscientiousness. The use of 'sunny' as an adjective recalls Sunni and the etymology of Quango's name is a play unto itself.
This play is 'about' too many things to effectively say what it is about. I appreciate it as a feast of language and a virtuoso display of Kushner's talent. While it may run long and fail to cohere thematically, it is shorter and more thematically coherent than Angels. What is a clusterbomb in the theater is chocolate cake when iced with covers.
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10 of 11 people found the following review helpful:
3.0 out of 5 stars
Ambitious But Ultimately Over Reaching, July 9, 2002
Tony Kushner, who with "Angels in America" arguably gave us the two greatest works of American drama since "Death of a Salesman," continues his drive to create a grand theatrical voice with "Homebody/Kabul."
And though he falls far short in his attempt, it feels a little crass to fault him for it. This play should be appreciated for its ambition and for the unabashed joy Kushner shows for the intricacy and the density of the English language. His work is great to read even when it ultimately misses the mark.
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