Bernard Shaw Major Barbara Rogue Theatre

Last night I saw a very good production of Shaw's comic play of ideas, Major Barbara at the Rogue Theatre in Andersonville. There were signs up in the window, available for rent, because after this production, the theatre is moving out of its current space.

I believe the play is inherently flawed and problematic because Shaw's main characters, Major Barbara, an officer in the Salvation Amry, and her father, Andrew Undershaft, the owner of a large arms plant, are more mouthpieces for arguments concerning the virtues of idealism and pacifism as opposed to pragmatism and militarism, than individuals about whom we learn more about during the course of the play. Instead, we are treated to mini-lectures, arguments, and witty exchanges about pacifism, philanthropy, militarism, pragmatism, capitalism.

And with heavy handed irony, one senses Shaw himself in the background taking delight in pointing how pacifism and militarism are interrelated. For instance, Undershaft contributes money to his daughter's Salvation Army branch, which is on the verge of closing for lack of funds. Convincingly, and without moral qualms, Undershaft argues that though his business of selling arms sows destruction, it also provides steady work for his employees, much more, that is, material well-being, than the Salvation Army, which offers mainly idealistic hope. This sort of argument has an echo in post-WW II United States, because this is just the sort of argument that politicians advance in the name of providing jobs for the constituents in the arms industry of which US constitutes half of the world's production.

To be sure, Undershaft is a study in single-minded ideological bad faith: he claims to serve his nation and provide work for people, but at the same time his products, arms, kill people and destroy civilization or impose colonial occupation. He admits to the destructive consequences of his business, but because he is just playing a part in the game of capitalism and playing according to its rules, he feels no guilt. Of course, any reality outside the logic and rules of capitalism to Undershaft is idealism and to be disdainfully dismissed as idealistic humbug. This includes politics itself, which ultimately serves the arms industry of Undershaft--its needs and profits, not vice-versa.

The cynical character of Undershaft is played with a requisite amount of overweening self-assurance and unctuousness, without overdoing it. There are six more important speaking roles:Undershaft's wife, his son, one daughter in the Salvation Army, another daughter, and both his daughter's fiances. And there are three more important speaking roles, minor characters who make an appearance at the Salvation Army. All these roles are also well-performed, and it's quite an accomplishment for a small theatre company to stage such a demanding play. Most companies settle for plays that don't require so many demanding speaking roles, so it was a pleasure to see this ensemble perform.