The success of a work is often gauged by the level at which an audience finds gratification in a work’s overall presentation. These echelons of audience enjoyment differ among varying mediums; audiences who attend traditional Shakespearean operas may attribute their degrees of entertainment to be founded primarily on the character interpretations shown by actors of the opera whereas audiences who attend more contemporary works may gauge their levels of entertainment to be founded primarily on the likeness shared between the characters of the work and the audience’s members themselves. The Humans by Stephen Karam holds true to the latter premise in many regards. This work features the mingling and entangling of modernity and humor: two mediums which coalesce to form a work which supersedes many works in terms of individual audience enjoyment.
The sizable level of success shown by The Humans can be associated with the play’s ability to exploit current trends in society: every-increasing medical issues, spousal adultery, unemployment, high cost of living, and lesbianism. The play elicits subtle hyperbolism, given that the divulgence of each aforementioned dilemma being revealed on a single day is anomalous, but this assemblage of trouble can be broken down into its constituent parts and be found to have implications in real life. The discharge of Erik Blake from his job in Saint Mary’s will be used to further illustrate the ways in which issues disclosed in the play are seen in modern society. Erik Blake is dismissed from his job due to the unveiling of his adulterous affair with a teacher who taught for Saint Mary’s. Constant fear of being fired is, unfortunately, commonplace throughout the United States due to tough economic straits. An individual’s financial security is directly proportionate to his or her company’s state of well being; a company in good financial standing is less likely to dismiss employees due to lack of financial resources whereas a company in bad economic standing would have to dismiss certain employees in order to curtail financial strain. Erik’s firing was justified through a breach of morality, but the issue of potentially losing a job, by itself, is an issue which individuals can empathize with.
Adultery is another topic discussed in The Humans. This issue is not arbitrary; Affairs are commonplace throughout the nation despite its negative complexion. The Humans furthers a sense of realism throughout the play by making use of this issue. An audience within New York, will know of the prevalence of this issue which strengthens the modernistic tone of the entire play. The utilization of modernity and fostered empathy serves to break the figurative wall between viewer and work, allowing a viewer to feel as if he or she is watching a series of real troubles unfolding before their eyes. This engagement fosters a sense of satisfaction within an individual.
Unlike more formalized works, such as Verdi’s Otello, audience reaction is not limited to intermissions or the ends of acts. The audience plays an integral role within the showing of The Humans. The work’s structured dialogue has included brief lapses for audience laughter. Like with the use of other modern ideals within the work, the use of humor serves to sever the lines created by traditional play viewing. Audience involvement is encouraged rather than shunned. These gaps for laughter depress intimidation which may come about from watching a professional work. During the first half of the play, Richard details his triumph over depression through taking time off which is reciprocated by Erik claiming that members of the Blake family have not gone through depression. Aimee Blake alleviates some tension, experienced by both the family and the audience, by claiming that the Blake family only has “stoic sadness.” The crowd erupts in a roar of laughter and the tension created by the topic of depression, which has roots within the current day, is erased.
The Humans distinguished itself from all preconceived notions founded through the viewing of more traditional works. This sense of individual identity and the high level of audience enchantment can be attributed to the hearkening of modernistic themes and the use of humor throughout the duration of the play. The continuous interplay of these two faculties spurred the presentation of an unforgettable production. Audience gratification was at its zenith following the curtain call of this play; thereby, dictating that the theatrical means of modernity and humor had been successful in their endeavors.
