Alan Ayckbourn’s Absurd Person Singular and Woman in Mind: A Study Guide for the Pardoe Theatre Production of Absurd Person Singular July 22 through August 7, 1993 & for the Margetts Theatre Production of Woman in Mind September 23 through October 9, 1993 Excerpts from a longer work by Tim Slover Edited by Bob Nelson, Nola Smith, and Kim Abunuwara Theatre and Film Department Brigham Young University ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° Contents: “Alan Ayckbourn–A Chronology of His Career”...................................................................... 2 “Alan Ayckbourn: An Introduction to the Man and his Work”....................................................... 5 “Absurd Person Singular: Offstage Action, Characters, and Locations, and the ‘Fraught’ Marriage and Business Relationships”.......................................................................................................... 9 “Woman in Mind: Destructive Family Relationships, the Usurping Relative, and the Subjective Viewpoint”........ 18 “Some Concluding Thoughts on the Works of Alan Ayckbourn”..................................................... 25 ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° Sixth in a series: study guides were also prepared for BYU productions of Hedda Gabler, Mother Hicks, Waiting for Godot, Julius Caesar, and The Importance of Being Earnest These study guides are for teachers, students, and others who attend our productions. We hope they enhance enjoyment and lead to deeper appreciation of the plays. All rights reserved © Tim Slover and BYU Theatre and Film, 1993 ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° 1 ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° Alan Ayckbourn: A Chronology of His Career 1939 –Born April 12 to Horace, first violinist for London Symphony Orchestra, and Irene, who writes for women’s magazines. Ayckbourn: “I watched her write them, because she used to thump them out in the kitchen. And it sounds a corny anecdote, but she really did–I suppose if Mummy had been washing up all day, I’d probably have become a very good washer- up–she gave me a little typewriter and I started to thunder out my own awful tales. I wrote stories and I wanted to be a journalist.” 1947 –Irene, divorced, marries bank manager, Cecil Pye. Ayckbourn: “I was surrounded by relationships that weren’t altogether stable, the air was often blue, and things were sometimes flying across the kitchen.” 1952 –At public school, Haileybury, on Barclay’s Bank scholarship, A. studies journalism. 1954 –Leaves Haileybury, having passed A-levels, works with actor-manager Donald Wolfit. 1954-57 –Works as stage manager and actor for various provincial companies, discovers his talent for technical theatre, especially sound and lighting. 1957 –Joins Stephen Joseph’s experimental Studio Theatre Company, which emphasizes theatre-in- the-round in Scarborough. He acts and stage manages. Ayckbourn on Joseph: “He believed that all of us shouldn’t be purely concerned with our own little role in the theatre, that theatre people should be total theatre people.” 1958 –Writes first play, under pseudonym “Roland Allen,” The Square Cat, at Joseph’s request. Ayckbourn: “He [Joseph] said to me, ‘If you want a better part [Ayckbourn was playing Nicky in Bell, Book, and Candle], you’d better write one for yourself. Write a play, I’ll do it. If it’s any good.’ And I said, ‘Fine.’” 1959 –Marries Christine Roland, writes Love After All. –The Square Cat and Love After All (“Roland Allen” plays) performed in Scarborough by Studio Theatre Company. 1960 –National Service at RAF Cardington, Bedfordshire (two days). –First child born. –Dad’s Tale (“Roland Allen” play) performed in Scarborough. 1961 –Second child born. –Standing Room Only (“Roland Allen” play) in Scarborough. Although West End producer Peter Bridge likes the script and attempts production throughout the next two years, the play is never produced on a London stage. 1962 –Becomes founding member and Associate Director of the theatre company at the Victoria Theatre, Stoke-on-Trent. –Children’s play, Xmas v. Mastermind, in Stoke: “most disastrous play I’ve ever done.” –Standing Room Only in Stoke. 1963 –Mr. Whatnot performed at Stoke. 1964 –Leaves the Stoke company. Last appearance as an actor. –Mr. Whatnot becomes first A. play to be produced in London, to disastrous reviews. –Joins the BBC in Leeds as radio drama producer, vowing never to write again. 1965 –Meet My Father performs in Scarborough. 1967 –The Sparrow performs at Scarborough. –Under new title of Relatively Speaking, Meet My Father performs in London, to favorable reviews. It becomes A.’s first published play and first major “hit.” 1969 –How the Other Half Loves performed in Scarborough. “Much of the farcical comedy of this 2 plot is in its stagescape, a living/dining room which manages simultaneously to be that of the Phillipses and the Fosters, with the two menages co-existing in the same stage space even when the times do not coincide: thus dinner at the Fosters on Thursday is played simultane- ously with dinner at the Phillipses on Friday, with constant dovetailing and crosscutting” (Ian Watson, Conversations with Ayckbourn). Revision for Broadway is only Ayckbourn play until Callisto Five set outside of England (in NYC), not terribly successful in New York. –Relatively Speaking produced for television by BBC. –Ernie’s Incredible Illucinations: children’s one-act, produced, published in London. –Countdown in Scarborough. 1970 –Leaves BBC; Director of Productions at Library Theatre in the Round, Scarborough. –Family Circles in Scarborough. 1971 –Time and Time Again in Scarborough. 1972 –Absurd Person Singular in Scarborough. –Time and Time Again in London. 1973 –The Norman Conquests in Scarborough: consists of three plays, each taking place simultane- ously in different rooms of a country house: Table Manners in the dining room; Living Together in the living room; and Round and Round the Garden in the conservatory. A., having experimented extensively with stage space, now begins his study of stage time. –Absurd Person Singular in London. –Evening Standard Best Comedy Award for APS. 1974 –Absent Friends in Scarborough: first A.’s “serious” comedies; recently had US premier, NY. –Confusions, five interlinked one-act plays, at Scarborough. –Service Not Included, A.’s only screenplay written initially for television, on BBC 2. –Norman Conquests in London. –Evening Standard Best Play Award and Plays and Players Best Play Award for Norman Conquests. Variety Club of Great Britain Playwright of the Year for Absurd Person Singular and Norman Conquests. 1975 –Jeeves, musical based on P. G. Wodehouse characters, score by Andrew Lloyd Webber, Lon. –Bedroom Farce, three beds onstage representing three bedrooms and the couples who inhabit them, in Scarborough. –Absent Friends in London. 1976 –Scarborough company moves from seasonal arrangement in the Library to its own year- round permanent theatre in a converted school–subsequently named the Stephen Joseph Theatre in the Round. –Just Between Ourselves in Scarborough: attracted critics to A.’s writing on oppression of women in marriage. “As we meet the characters on three separate birthdays during the course of a year, Pam becomes increasingly sour in her relationship with Neil, who leans on Dennis for support and is given ill-informed and disastrous investment advice as a result. Vera is finally driven into catatonia, but even this fails to shake Dennis into the vaguest awareness of the responsibility he has for her condition” (Watson). –Confusions in London. –Time and Time Again produced on television by ATV. 1977 –Ten Times Table. –Bedroom Farce and Just Between Ourselves in London. –Norman Conquests produced for television by Thames TV. –Evening Standard Best Play Award for Just Between Ourselves. 1978 –Joking Apart in Scarborough. –Men on Women on Men in Scarborough: one of a series of unpublished late-night and lunch time revues with scores by Paul Todd. –Ten Times Table in London. –Just Between Ourselves produced for television by Yorkshire TV. 1979 –Sisterly Feelings in Scarborough: the first of Ayckbourn’s “multiple outcome” plays; either 3 one or the other sister has an affair with a handsome sportsman, depending on the toss of a coin. First and last scenes are the same in either case. –Taking Steps in Scarborough: a farce relying on A.’s innovative staging: three stories of a country house, connected by spiral staircases, are all played on a flat surface. –Joking Apart in London. –Joking Apart shares Plays and Players Award for Best Comedy of 1979. 1980 –Suburban Strains in Scarborough: full-length musical, score by Paul Todd. –First Course in Scarborough: review, score by Paul Todd. –Second Course in Scarborough: review, score by Paul Todd. –Season’s Greetings in Scarborough. –Sisterly Feelings, Taking Steps in London. –Bedroom Farce produced for television by Granada TV. 1981 –Me, Myself, and I in Scarborough: three reviews, score by Paul Todd. –Way Upstream in Scarborough. A.’s most darkly symbolic play, and most ambitious in terms of staging: action takes place aboard a boat (England’s ship of state) sailing up a river; actual boat and water are called for. Play also tours to Houston, Texas. –Making Tracks in Scarborough: a musical, score by Paul Todd. –Suburban Strains in London. 1982 –Intimate Exchanges in Scarborough: by far the most ambitious of A.’s “multiple outcome” plays; two characters wade through a virtual television series of possible plots, ending in sixteen possible conclusions. –A Trip to Scarborough in Scarborough: combines Sheridan plot with two of A.’s own. –Making Tracks revived in Scarborough. –Season’s Greetings and Way Upstream in London. 1983 –A Cut in the Rates in Scarborough: a one-act play. –Backnumbers in Scarborough: a revue, score by Paul Todd. –Incidental Music in Scarborough: a revue, score by Paul Todd. –It Could Be Any One of Us in Scarborough: spoof of Agatha Christie mysteries. –Making Tracks at Greenwich Theatre. 1984 –The Seven Deadly Virtues in Scarborough: musical musings on both “natural” and “supernatural” virtues, score by Paul Todd. –A Chorus of Disapproval in Scarborough: a play set in the mythical town of East Pendon, about a modern MacHeath’s amours during rehearsals of The Beggar’s Opera. –The Westwoods in Scarborough: two brief musical revues, score by Paul Todd. –Intimate Exchanges at Greenwich Theatre and then London at Ambassador’s Theatre. 1985 –Woman in Mind in Scarborough. –Boy Meets Girl/Girl Meets Boy in Scarborough: musical revue, score by Paul Todd. –A Chorus of Disapproval in London. –Absurd Person Singular, Absent Friends produced for television by BBC. 1986 –Starts two-year leave-of-absence at the Stephen Joseph Theatre in Scarborough to act as a Company Director at the National Theatre, London. –Granted the Freedom of the Borough of Scarborough. –Mere Soup Songs in Scarborough: musical revue, score by Paul Todd. –Mere Soup Songs in London. –Woman in Mind in London. –Me, Myself, and I at NT, London, as late-night entertainment. –Evening Standard Best Comedy Award, Olivier Best Comedy Award, Drama Best Comedy Award for A Chorus of Disapproval. 1987 –Henceforward… in Scarborough: could be termed A.’s science fiction debut, but is really about a husband who chooses profession (art) over love and family. –A Small Family Business at National Theatre, London: tackles morality of the business world as family resorts to fraud, extortion, and murder to keep furniture business afloat. –Mere Soup Songs at National Theatre, London, as late-night entertainment. 4 –Season’s Greetings and Way Upstream produced for television by BBC. –Receives CBE in New Year Honours List. 1988 –Returns to Artistic Directorship of the Stephen Joseph Theatre. –Man of the Moment in Scarborough: a meditation on fame and morality. –Mr. A’s Amazing Maze Plays in Scarborough. –A Small Family Business tours UK and overseas; opens in London’s West End. –A Chorus of Disapproval produced as feature film by Michael Winner. –Evening Standard Best Play Award for A Small Family Business. –Plays and Players Best Director Award for Arthur Miller’s A View from the Bridge. 1989 –The Revengers’ Comedies in Scarborough. –The Inside Outside Slide Show. 1990 –Invisible Friends, in Scarborough: children’s play. 1991 –The Revengers’ Comedies in London. –Absent Friends, Taking Steps premieres in New York. ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° Alan Ayckbourn: An Introduction to the Man and his Work English playwright Alan Ayckbourn is popular and prolific, having written and produced some fifty plays in Scarborough and London. At the time of this writing, The Revengers’ Comedies and Invisible Friends, which premiered in Scarborough in 1989 and London in 1991, are his latest plays to be published, but he has written and produced six plays since and is scheduled to put his newest play, as yet unwritten and untitled, into rehearsal on February 5, 1994. In addition to his own productions, Ayckbourn’s plays continue to be seen in productions throughout the English-speaking world, and translations of his plays appear regularly in Europe. Because he is both popular and prolific, he has, until lately, been ignored by most theatre critics and scholars. Although his plays have received major West End productions almost from the beginning of his writing career, and hence have been reviewed in British newspapers, Ayckbourn’s work was for years routinely dismissed as being too slight for serious study. Notable exceptions to this dismissal have been, among a few others, Benedict Nightingale, Sidney Howard White, and Michael Billington, who have championed and commented usefully on his work for many years. Recently, however, other scholars have begun to view Ayckbourn as an important commentator on the lifestyles of the British suburban middle-class and as a stylistic innovator, experimenting with theatrical styles within the boundaries set by popular tastes. Of the critics who have commented on his work from the late 1960s to the present, the overwhelming majority see in his work a formal progression (this word best describing their value judgment) from light boulevard comedy to darker, more serious plays. Sidney Howard White’s comment may be considered typical, commending Ayckbourn for his progress from a “nimble worker of farces to a Chekhovian writer of comedy.” This view of Ayckbourn’s work suggests an evolution in style and theme that is stately and ordered, rather like the early views of human evolution: from less good, to better, to best. However, I propose a different, hopefully more accurate view of Ayckbourn’s 5 artistic evolution, one closer to the contemporary view of natural evolution: as a bush with many side branches and doublings back rather than a ladder with rungs neatly marked with improvements. Far from leaving farce behind in the 1970s, for example, Ayckbourn continues to employ its elements in plays as recent as Man of the Moment and Revengers’ Comedies, and he considers farce among the most sophisticated and difficult of theatrical styles in which to succeed. And serious, darker themes reach back into Ayckbourn’s career as least as far as 1972’s Time and Time Again, in which the seeds of his theatrical commentary on domestic oppression are planted. Ayckbourn himself describes his work in terms of stylistic and thematic “phases,” which have alternated over the years of his career, and which may be interrupted by new ideas. In addition to farces, “black farces” (Ayckbourn’s term), comedies of wit and manners, and serious plays in comic form, he has also written musicals, revues, and children’s plays, and has done so over the course of his career. In the best of his plays, “the idea and the technique come together,” so that form and content complement each other with a precision and effectiveness which elevates them into the realm of the finest of English-speaking comedy. Alan Ayckbourn’s is a life wholly given over to the theatre from his days at Haileybury Public School onwards. Unlike other British playwrights of his generation, whose early work grew out of a literary or experimental background, Ayckbourn’s early plays were a direct response to the need to fill a small theatre in a seaside resort town, a sizable percentage of whose clients were holiday-makers. Since he has remained artistically connected with Scarborough throughout his career, this need has, more than any other single force, shaped his growth as a popular dramatist. Over the course of his career, Ayckbourn has learned to craft his plays such that even his most dour social observations are presented within a theatrical framework which remains accessible to a general theatre-going public. By choice, Ayckbourn writes plays which are structurally familiar to a mainstream theatre clientele: comedies of manner, farces, children’s plays, and musicals. The anomalous Way Upstream represents a fascinating mixture of comedy of manners and allegory. Over the years, Ayckbourn has come to believe that in presenting his themes in these traditional forms, “I do really treat theatre as pure art,” as he said in an interview with Ian Watson. “That’s why I don't like heavy political themes. Of course one can write a play about women’s liberation–it’s a very important topic–but I don’t think it’s very satisfying when they stand on a chair and tell the men in the audience that they’re pigs. And that’s where I differ from agitprop theatre, in that I hate being told things.” Although Ayckbourn admires playwrights of non-linear drama, such as Harold Pinter, and claims to have been influenced by them in developing his voice, that influence seems largely to have manifested itself in thematic rather than stylistic terms in his plays. But if Ayckbourn’s style is traditional, that is, realistic and linear, his dazzling and endlessly inventive variations within it display an impressive array of comic forms and theatrical diversity: sets which interpenetrate each other to suggest the tangled lives of two couples; interlocking comedies which suggest offstage characters and action as vivid as the onstage action an audience can see; multiple plot outcomes which, taken together, illustrate the consequences of seemingly trivial decisions; and always the accretion of farcical elements hurtling characters toward often disastrous ends which seem both 6 predestined and natural. Not only is Ayckbourn England’s most prolific playwright; he is, within traditional boundaries, also its most formally and technically innovative. Drama critic Michael Billington said of him, “He is fascinated by what theatre can do. He is even more fascinated by showing that there is virtually nothing that it cannot do.” Some critics have found in Ayckbourn’s characters fully fleshed, three-dimensional characters, while others see them as emblems of middle-class types. Certainly some of Ayckbourn’s characters are fully rounded: his comedies portray a rich tableau of domestic relationships, and it does not overstate the case to assert that his abilities are Chekhovian in portraying complex characterizations and exploring the interpenetration of laughter and tears, the comic and the tragic. Like Chekhov’s indolent and immobilized aristocrats, many of Ayckbourn’s characters are trapped by social constraints which they seem incapable of challenging. As they prosecute their endless round of meals, family occasions, parties, business deals, and adulteries, their behaviors illuminate the expressed and suppressed desires of Britain’s middle class. Bernard Levin wrote in 1977 that it was with the play Just Between Ourselves that Ayckbourn crossed the threshold from two-dimensional to three-dimensional characterization when he presented a “bitter depiction of real people in real pain.” However, two years later, Robert Cushman wrote that Ayckbourn’s characters were more type than individual. In a 1979 review of Sisterly Feelings, he stated that “Mr. Ayckbourn sees his people less in terms of character than in terms of domestic circumstance,” and about some of Ayckbourn’s characters this seems entirely accurate. In some plays he does indeed sacrifice three-dimensional characterization for flatter characters which illuminate middle class types. In his most memorable characterizations, however, he manages to combine a rich three-dimensionality and particularity with an emblematic quality which allows the characters to represent a social context or interpersonal issue. Hence, Susan in Woman in Mind is both an individual character and emblematic of the oppressed housewife; Marjorie in Just Between Ourselves is both a memorably horrific mother and mother-in-law and the emblem of the usurping relative; Karen in The Revengers’ Comedies haunts the memory both as a woman suffering a particular and dangerous psychosis and as emblematic of an important Ayckbourn character type: the agent of destruction. Interestingly, these repeated characterizations often become crucial determinants of the formal shape an Ayckbourn play may take. Over the course of an ongoing career, Ayckbourn has developed sophisticated and unique insights into such subjects as marriage; family life; innocent and volitional destructiveness; the success ethic; male oppression of women, particularly in the marriage relationship; the penchant for women, particularly wives, to be complicit in their own oppression, and so on. Although critical discourse on Ayckbourn is growing, much about the playwright is still in the form of interviews with him and newspaper and periodical articles discussing individual plays at the time of their first production. The most extensive of the interviews with Ayckbourn is the book-length Conversations with Ayckbourn by Ian Watson (London: Faber and Faber, 1988). This book covers some aspects of Ayckbourn’s life and career until 1981 and then does a quick update covering the years 1981 to 1987. Other interviews include Paul Allen’s “Interview with Alan Ayckbourn,” published in 1983 in 7 Marxism Today and Mark Lawson’s interview published in The Times, 27 June 1987. Ayckbourn is quotable, and much of his commentary appears in newspaper and journal articles about his work. Of the many theatre critics who have reviewed and continue to review Ayckbourn’s plays when they premiere or are revived, the most important are Benedict Nightingale, Irving Wardle, Michael Billington, Sheridan Morley, Mel Gussow, and Robert Cushman. At present two books, both entitled Alan Ayckbourn, have been published about Ayckbourn’s life. One was written by Sidney Howard White (1984), and the other by Michael Billington (1990). Both survey his career briefly, giving some attention to most of his plays. Both books provide valuable biographical details, particularly about Ayckbourn’s early life, although the playwright’s extensive interview with Watson is actually more revealing of character, opinions, and methodology than either of these books. Both books give brief accounts and analysis of many of Ayckbourn’s plays. Billington attempts to group the plays thematically, and since his thesis is that Ayckbourn’s work has “progressed” chronologically, he sometimes forces a play of one decade to fit into a particular category with other plays of the same era. White’s 1984 book was the first large treatment of Ayckbourn’s plays and, of course, does not deal with any plays of the last nine years. A recent book edited by Bernard Dukore, Alan Ayckbourn, A Casebook, combines the scholarship of himself and others in a series of essays dealing with Ayckbourn topics. These essays tend to grapple with issues which range across the breadth of Ayckbourn’s output. An essay by Felicia Hardison Londré, for example, traces the development of Ayckbourn’s female characters, while an essay by Richard Hornby does the same with his male characters. Three of the essays deal in some detail with a single play or trilogy: two focus on the directing of A Chorus of Disapproval and Taking Steps, and one examines The Norman Conquests thematically and stylistically. The book also provides an excellent interview with Ayckbourn by Dukore, the most recent taking of the playwright’s artistic pulse. Another recently published book, Laughter in the Dark by Albert E. Kalson, examines the Ayckbourn canon from the intriguing if sometimes forced perspective that, from The Square Cat to The Revengers’ Comedies, a continuing character in all the plays is Ayckbourn himself, split into many sometimes opposing personas. Journal articles and chapters about Ayckbourn in books include John Russell Taylor’s chapter, “Art and Commerce,” in Contemporary English Drama, edited by C. W. E. Bigsby (1981), and his article “Only When They Laugh?” in Plays and Players (1982). Because his output is so voluminous, the few books about Ayckbourn, trying to be comprehensive in approach, are able to analyze in only the briefest terms any one play. The following two papers give a fuller historical treatment of the selected plays, and provide more detailed analysis, particularly about the subjects outlined above. Theatre reviews of Ayckbourn’s work tend to focus on individual plays rather than discuss the evolution of style and thematic treatment in any detail; interviews with the playwright are illuminating and useful but tend to be anecdotal and uncritical; and journal articles, to date, have discussed subjects other than those I will analyze. I must stress that all have been useful in my research, and I have acknowledged them either in substance or direct quote where illuminating; all have provided valuable pieces to the puzzle of the evolution of Ayckbourn’s 8 style and thematic concerns. However, I found the puzzle to be still partially incomplete, despite these pieces, with significant gaps remaining to be filled through close reading of scripts and observation of texts (that is, scripts in production). I hope that my work fills in some of those gaps. ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° ° Absurd Person Singular: Offstage Action, Characters, and Locations, and the “Fraught” Marriage and Business Relationships I. Formal Elements: Offstage Action, Characters, and Locations Ayckbourn recalls that it was during the writing of his hugely successful Absurd Person Singular that he “was becoming increasingly fascinated by the dramatic possibilities of offstage action,” not as a theatrically realized metaphor or any such abstraction, but simply as a device “with plenty of comic potential still waiting to be tapped.” This comedy was to be his “first offstage action play,” the first staged expression of his dicta that “an audience’s imagination can do far better work than any number of playwright’s words,” and that “the offstage character hinted at but never seen can be dramatically as significant and telling as his onstage counterparts.” For the first time, in this play he locates action and characters in imaginary space which is completely beyond the visual range of the audience and not linked to actual settings in any way. Ayckbourn acknowledged that using offstage action presents special challenges to the playwright. For it to be effective, he noted, the dramatist must “show his action” rather than “describe” it; if he does not, “the audience can rapidly come to the conclusion that they’re sitting in the wrong auditorium”–that is, that the dramatic incidents being presented to their view are less relevant to the unfolding of plot, characterization, and theme than those described onstage as taking place out of their view, offstage. Fortunately, Ayckbourn is generally successful at confining his significant action onstage, employing a number of strategies to bring to life characters never seen by the audience and to “show action” which occurs offstage. Ayckbourn’s strategies to “show action” occurring offstage emphatically do not include characters’ onstage recitation of past events, such as the autobiographical speeches of Sam Shepard’s characters or the messengers’ speeches of classical or Shakespearean tragedies. Nor do they include tantalizing descriptions of unseen characters who, eventually appear onstage. For Ayckbourn, an offstage character must remain offstage for the entire play, his presence registered entirely by other than visual stage elements. One strategy which Ayckbourn sometimes employs is concurrent offstage and onstage action in which onstage incidents are augmented by offstage action occurring at the same time, with onstage characters simultaneously participating in both. As in the earlier Time and Time Again, in Absurd Person Singular Ayckbourn uses a second perhaps less imaginative strategy. Here, offstage incidents 9 occur concurrently with those onstage, but onstage characters participate in them not at all or only briefly as they enter and exit. Absurd Person Singular employs five different offstage areas for concurrent action over the course of the three acts (each act consists of one scene) and three offstage characters who are heard but never seen. The play dramatizes three successive Christmas Eve parties (taking place “[last Christmas, this Christmas, and next Christmas]”), held in the houses of three couples: Sidney and Jane Hopcroft, Geoffrey and Eva Jackson, and Ronald and Marion Brewster-Wright. As originally conceived by the playwright, the parties were to occur in the sitting rooms of the three couples, but Ayckbourn notes that he soon “realized that I was viewing the evening from totally the wrong perspective.” The formal sitting rooms lent themselves to formal conversations and polite activities. But Ayckbourn was interested in the portrayal of more intimate events in which characters could more quickly reveal the true natures of their personalities and relationships. He solved his problem by setting his plays in the more informal kitchens, thus also sparing himself the tedious business of writing the introductions and small talk. An upstairs bedroom and gardens just outside the kitchen doors are also employed by the playwright for incidental offstage action. Two sitting rooms, then, those of the Hopcrofts and the Jacksons, constitute the two major areas in the play where offstage action occurs. There the rituals of polite discourse are played out; meanwhile, onstage, in the kitchens, where much more of domestic life is actually lived, the social barriers tumble. A couple named Dick and Lottie Potter and a large dog named George are heard but never seen onstage. Ayckbourn introduces the Potters early in Act One. While we see Jane Hopcroft preparing herself for company in the command center of her kitchen, we hear the Potters arrive at the Christmas party which is to take place in the offstage sitting room. The theatrical device which Ayckbourn introduces will serve throughout the remainder of the play: when the kitchen door is open, we can hear the voices in the sitting room. Jane peeks through the door to see them; immediately we hear “[a jolly hearty male voice and…a jolly hearty female voice. They are Dick and Lottie Potter, whom we have the good fortune never to meet in person, but quite frequently hear whenever the door to the kitchen is open].” Since Ayckbourn can only establish these characters aurally he is careful to note that “[both have loud, braying, distinctive laughs],” so that, when we hear them again, we will quickly recognize them. Then, completing his stage convention, he indicates that Jane “[closes the door, cutting off the voices].” Gradually, as the scene progresses, a fuller picture of the Potters and their relationship to other characters is built up from bits and pieces of conversation and laughter heard through the kitchen door. Ayckbourn weaves the lives and personalities of characters we never see with those onstage, using offstage characters to reveal important personality traits of his onstage characters. For example, the Potters serve as a foil to the snobbery of the Brewster-Wrights. Lottie Potter becomes the vehicle by which he introduces Geoffrey’s major personality traits of lechery, infidelity, and insensitivity to his wife. Geoffrey’s frank sexual predation–he appraises Lottie’s physical attributes with the practiced eye 10