Laura Holland SPILL Writing Assignment Everyone has heard, thought, or even succumb to the act of saying some string of words like “Geez, gas prices have gone up.” More often than not, that phrase is used in a disgusted tone. Yes, the prices might fluctuate and usually tend to go up. One might be a little perturbed by having to pay just a little more than last month to get from one place to another, but I wonder if they have ever really thought or really understood the hardship of the work that goes into pumping that fuel into the tank of their automobile? Fondakowski’s production of SPILL used many effective details and tools that sought to help open the eyes of these kinds of tunneled vision spectators. SPILL beautifully paints the portrait for the basis of reality on the true cost of oil. Through her portrayal of ‘Louisianian’ culture, use of language, manipulation of time, and infusion of visual elements, she genuinely illustrates the effects of oil on people’s lives, not only as a provider of jobs and mobility, but also as a devastating alteration in one’s life.
Fondakowski’s main approach of the play was that she enforced the theatrical style of docudrama. This type of dramatic choice, helped to fully address the pressing issue of oil and its cost by taking real people that were affected by the spill, and incorporating their tragic experiences, testimonies, and speeches. Each person and their portions from interviews were carefully and selectively picked to help further the plays theme. Take Arlene Weise, the mother of the deceased twenty-four year old rig worker Adam, for example. During the second act, Arlene says “It doesn’t matter how much money anyone pays. It doesn’t even come close to the amount of what we’ve lost.” This was a perfect push for the audience to see through that the spill was not only an environmental loss or job loss, it was a loss of loved ones, physical living breathing human beings like ourselves, as well. Fondakowski made the choice of bringing the events to life through recreation and reenactment of the actual rig scene, instead of simply making a statement by the characters of what happened. This gave the audience a chance to actively reflect and make their own conclusion to the events that unfolded. It made the situation real to the audience, so they could feel the same intensity, but also to have a better understanding and connection with the characters themselves.
The set for SPILL itself was nothing extraordinary. There were no elaborate props or sets, just the basics for the audience to get the main idea of what was happening. Like in the beginning of the play, the Writer was at a kitchen table with a notepad to take notes of an interviewee. That is all Fondakowski wanted the viewer to take from the scene. There were no distractions to make the audience stray from the central theme. She left most of the set and scene up to the viewer’s imagination. As more images and props were used, the more and more profound the theme became. Take the lighting for example. The spotlight was used for intensity of the moment. The dark crimson red that was used for the reenactment of the spill, set the mood for upset, disaster, and tragedy. Another example would be the waving of chairs in the air by the characters themselves. It signified the explosion and destruction. Another reason behind the utilization of a basic set was to show the audience that even during the actual events, the incident, hardship, and effects were being hidden by such things like the media and the BP company itself. Fondakowski wanted the viewers to realize that most of the facts and truths behind what happened, and even the death of eleven people, were faded into the background.
Although it was a mostly bare stage, there were screens hanging at the top that would light up with images that flowed and corresponded with some of the scenes. And with what few props or little set was used, that choice of imagery design prevailed to be a major part of reinforcement of the central theme or image of the production. It helped to establish the environment, like when the Writer took a car ride with one of the interviewees. Fondakowsi wanted you to feel that they were not merely on a road to some destination, they were crossing a beautiful scene and piece of Louisiana’s heart. With the image of a magnificent body of water that represented so much culture, history, and future, the audience could realize what it actually meant to the community of Louisiana. Therefore, the audience could better understand the tragedy, pain, and disgust that was felt when the spill took its toll. The scene when Bob Bea found a bird drenched in oil, and the images of the affected wild life and environment played on the slides above, sent chills. It was actual footage from the aftermath. It showed that the tragedies of SPILL really happened, and ultimately had a horrific outcome.
All throughout the show, the scenes from SPILL had the tendency to be a bit sporadic, clustered, and confusing, much like the actual Deepwater Horizon Blowout itself. There were so many things going on at once, from The Writer talking to an interviewee like Bob Bea while the lights change from light to dark, and the rig workers reenacting the spill in the background of it all. Every single one of these choices were key for audience to understand and connect with the nerve wrenching feeling not only the rig workers felt, but the family members and Louisiana residents that survived off the marine life that was impacted so heavily. Through this, Fondakowski’s production made the viewer grasp every feeling from every side of the story.
Another important imagery aspect of SPILL was its incorporation with paintings of the interviewees; the actual victims. With this choice, the play did not simply begin when the viewer sat in their seat and the acting had begun. The viewer was given the chance to familiarize themselves with the characters, and begin provoking thoughts. It was a powerful choice that made the audience see the characters were real people like themselves, with their own culture and language. So at the end of the play, the viewer felt a connection, like they truly knew them or understood them. Instead of leaving right after, like any other play, the paintings made the viewer want to go back in the lobby. After hearing the tragedies, the audience was able to look at the pictures again, but in a different aspect. The paintings provoked the audience to contemplate, feel, and further understand the characters and the effects of the world on a society, environment, and individual level. Lastly, every play’s premiere is one of its biggest moments. Fondakowski probably had many opportunities and offers to multiple theatres for the big SPILL debut, yet the choice of Swine Palace in Baton Rouge was made. Some may have thought something along the lines of “If this play is supposed to have some big impact for the whole world, then why there?” Good, at least it’s a start on thinking about the true meaning. Baton Rouge is in close locality to the actual site of SPILL’s world disaster. Therefore it was clearly easier for ones who were interviewed and portrayed in the play, as well as the entire community that was affected by it to attend. This choice perfectly coincides with Fondakowski’s theme of the production: bring awareness of the effects of oil among the community of Louisiana and society as a whole. The location hits home to the Louisiana culture and language that Fondakowski’s project brings to life.
SPILL incorporated so many elements, each a specific choice, which ultimately pushed the audience to feel and understand the true effects of this world disaster. With Fondakowski’s choice of dialogue, language, and mix of images, the viewer gets a better grasp on what oil actually means to not only Louisiana communities and families, but to the world as an entire united society. All these elements helped to intensify the theme of the play, and shed light on the true issue at hand. So the next time you see the gas price rise, think about the TRUE cost of that oil; the lives who are constantly at risk to bring you mobility. Put yourself in the shoes of Andrea Fleytas, who actually went through the hell on BP’s oil rig that day, or even a mother or father like Arlene Weise and Keith Jones. Then, and only then, try to complain about the price of our precious oil.