Catherine Rampell Analysis
Catherine Rampell is an opinion columnist at The Washington Post and in the past worked as a reporter for The New York Times. She has covered economics and launched the award-winning Economix blog along with several theater reviews (W.M.D). Mrs. Rampell, in her article, "Theater Censorship alive and well in Maine and NYC," articulates her view regarding the controversial play that was set to be performed by students in Maiden. The show is set in the context of the legalization of same-sex marriage in the United States. Therefore, it is obviously poised to be a tough task to convince their home town of Maiden to accept their play. In addition, Rampell ascertains that a similar situation had occurred in a Maryland School in 2011, where students
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also wanted to perform a controversial play in their community. As a result of considering the sensitivity of same-sex marriage in this region, the play faces an uphill task for it to progress (Rampell). Through Rampells article, she articulates that same sex marriage remains to be a controversial issue in the society by illustrating her views, comparing various illustrations of love in the arts, showing failed acts of support for such demeanor by communities, and expressing herself in an overall tone of controversal disapproval.
Rampell holds the view that both cities are under the threat of dangerous art.
She is concerned by the fact that whereas New York is facing the threat of Opera Company’s production regarding terrorism, the threat that faces Maiden, N.C., is a high school play about love. The author uses another source to compare its popularity with this play. According to statistics, the play “Almost Maine” has amassed nearly 2,000 school productions since its premiere therefore making it the play that is most frequently produced in high schools throughout the United States. The statistics that are provided by Rampell indicate that it has edged others such as “Midsummer Night’s …show more content…
Dream.”
While comparing various illustrations of love, Rampell indicates that plays use different artworks from the actors. She provides an example of the whimsical rom-com that features nine interconnecting vignettes of heartache and romance and play on familiar love idioms. Actors literally fall down as a figurative act of falling in love. The author also uses a contemplative tone to ascertain that school heads appreciate the most unequivocal conversation in John Cariani’s “Jeezum Crow” that was PG rated. Furthermore, the author uses a reflective approach to reflect on the issue that occurred in the falling down gag. She reflects that in that play, there was no sex, kissing or even allusions to lust. Rampell becomes critical of the gravity prone characters who are men. She says that the presence of men characters in such a play was enough to lead to the cancelation of the production by the principal. The reason for its cancelation was that it contained sexually explicit overtones. Besides, it had multiple sexual innuendoes.
Rampell uses a forthright framework to state that the students had asked for permission from the principal since they suspected that the gay storyline in their play might be a controversal issue. The principal did not object to their request. However, the principle did ask for consent from the parents of the actors. Nevertheless, the students were told that the community was not ready for the play. This statement took place a few days after the legalization of same-sex marriage. Author Rampell is apathetic on the community for their failure to offer the necessary support to the students in their hometown. As a result, she says that they were distraught since they had broken their budget to secure the rights. They also had concerns regarding the supportive message that the principal offered and the impact it could play on their homosexual classmates.
The author states that the American Civil Liberties Union had offered to support the students on their difficult task, but they declined. She then also reflects on a similar situation that had happened to a Maryland school that had caused conflicts similar to these. Although the students were not interested in the support that was offered by the Liberty Union, they were determined to foresee the progress of their play. Rampell uses an accusatory tone to establish the events that took place in the social media. The supporters of the students rallied their discontent by the Maiden community and accused it of backwardness, bigotry, and intellectual oppression.
Rampell is also judgmental of her own town. Whereas members of the art community around the nation used the social media to air their condemnations, New York which is arguably the world’s capital of the arts is facing an outbreak of the theatrical censorship(Sherman). She claims that the Metropolitan Opera show that is being targeted is not a small amateur production but rather an international cultural juggernaut. She provides examples of shows that waded into controversy due to their sensitive subject matter such as “The Death of Klinghoffer”. In this play, she states that Palestinian terrorists hijacked a cruise ship whereas there was the subsequent murder of a Jewish man who was wheelchair-bound.
The columnist indicates a contemptuous attitude that the community had regarding other sources.
“The Death of Klinghoffer” was canceled as a result of public pressure. It was barred from international simulcast and radio broadcasts as a result. Whereas there have been shows that have continued with their premiere, they have been met by denudations and nasty protests from the community pillars of New York. Individuals who were skeptical of the play include former mayors, governors and also current representatives. The skepticism that has been analyzed by the author shows the little level of support that is offered to the actors and their
play.
Rampell is critical of the criticizers of the play since many of them acknowledge that they have never seen the play. She reflects on a similar outcome from the “Almost, Maine” show that had critics who had not yet seen the show. She is accusatory of the censorship calls in Maiden that have attracted more attention to the work. The narrator also uses an optimistic tone by indicating the bright side of these calls for censorship. She establishes that this play has demonstrated that live theater still matters to art lovers like her. She is bullish that even though live theater has been pushed aside by Hollywood and other large forms of entertainment, it still manages to provoke and inflame New York and the small town in North Carolina. Her scornful attitude towards the architects of censorship is evident when wishes a loss to them and for that she wishes the show to go on.
In conclusion, the play faces a tough task to progress as we see from Rampells tone, expressions and examples. This is principally due to the minimal support that is offered by the local community in which it originates. The major reason for the opposition by the local community in Maiden is that the play depicts homosexual characters. The Maiden community, especially the local churches are not ready for such a show; hence, the members and the supporting cast of the play should prepare for a major battle. However, the author has optimism that the architects of censorship will not win and that the show will proceed.
also wanted to perform a controversial play in their community. As a result of considering the sensitivity of same-sex marriage in this region, the play faces an uphill task for it to progress (Rampell). Through Rampells article, she articulates that same sex marriage remains to be a controversial issue in the society by illustrating her views, comparing various illustrations of love in the arts, showing failed acts of support for such demeanor by communities, and expressing herself in an overall tone of controversal disapproval.
Rampell holds the view that both cities are under the threat of dangerous art.
She is concerned by the fact that whereas New York is facing the threat of Opera Company’s production regarding terrorism, the threat that faces Maiden, N.C., is a high school play about love. The author uses another source to compare its popularity with this play. According to statistics, the play “Almost Maine” has amassed nearly 2,000 school productions since its premiere therefore making it the play that is most frequently produced in high schools throughout the United States. The statistics that are provided by Rampell indicate that it has edged others such as “Midsummer Night’s …show more content…
Dream.”
While comparing various illustrations of love, Rampell indicates that plays use different artworks from the actors. She provides an example of the whimsical rom-com that features nine interconnecting vignettes of heartache and romance and play on familiar love idioms. Actors literally fall down as a figurative act of falling in love. The author also uses a contemplative tone to ascertain that school heads appreciate the most unequivocal conversation in John Cariani’s “Jeezum Crow” that was PG rated. Furthermore, the author uses a reflective approach to reflect on the issue that occurred in the falling down gag. She reflects that in that play, there was no sex, kissing or even allusions to lust. Rampell becomes critical of the gravity prone characters who are men. She says that the presence of men characters in such a play was enough to lead to the cancelation of the production by the principal. The reason for its cancelation was that it contained sexually explicit overtones. Besides, it had multiple sexual innuendoes.
Rampell uses a forthright framework to state that the students had asked for permission from the principal since they suspected that the gay storyline in their play might be a controversal issue. The principal did not object to their request. However, the principle did ask for consent from the parents of the actors. Nevertheless, the students were told that the community was not ready for the play. This statement took place a few days after the legalization of same-sex marriage. Author Rampell is apathetic on the community for their failure to offer the necessary support to the students in their hometown. As a result, she says that they were distraught since they had broken their budget to secure the rights. They also had concerns regarding the supportive message that the principal offered and the impact it could play on their homosexual classmates.
The author states that the American Civil Liberties Union had offered to support the students on their difficult task, but they declined. She then also reflects on a similar situation that had happened to a Maryland school that had caused conflicts similar to these. Although the students were not interested in the support that was offered by the Liberty Union, they were determined to foresee the progress of their play. Rampell uses an accusatory tone to establish the events that took place in the social media. The supporters of the students rallied their discontent by the Maiden community and accused it of backwardness, bigotry, and intellectual oppression.
Rampell is also judgmental of her own town. Whereas members of the art community around the nation used the social media to air their condemnations, New York which is arguably the world’s capital of the arts is facing an outbreak of the theatrical censorship(Sherman). She claims that the Metropolitan Opera show that is being targeted is not a small amateur production but rather an international cultural juggernaut. She provides examples of shows that waded into controversy due to their sensitive subject matter such as “The Death of Klinghoffer”. In this play, she states that Palestinian terrorists hijacked a cruise ship whereas there was the subsequent murder of a Jewish man who was wheelchair-bound.
The columnist indicates a contemptuous attitude that the community had regarding other sources.
“The Death of Klinghoffer” was canceled as a result of public pressure. It was barred from international simulcast and radio broadcasts as a result. Whereas there have been shows that have continued with their premiere, they have been met by denudations and nasty protests from the community pillars of New York. Individuals who were skeptical of the play include former mayors, governors and also current representatives. The skepticism that has been analyzed by the author shows the little level of support that is offered to the actors and their
play.
Rampell is critical of the criticizers of the play since many of them acknowledge that they have never seen the play. She reflects on a similar outcome from the “Almost, Maine” show that had critics who had not yet seen the show. She is accusatory of the censorship calls in Maiden that have attracted more attention to the work. The narrator also uses an optimistic tone by indicating the bright side of these calls for censorship. She establishes that this play has demonstrated that live theater still matters to art lovers like her. She is bullish that even though live theater has been pushed aside by Hollywood and other large forms of entertainment, it still manages to provoke and inflame New York and the small town in North Carolina. Her scornful attitude towards the architects of censorship is evident when wishes a loss to them and for that she wishes the show to go on.
In conclusion, the play faces a tough task to progress as we see from Rampells tone, expressions and examples. This is principally due to the minimal support that is offered by the local community in which it originates. The major reason for the opposition by the local community in Maiden is that the play depicts homosexual characters. The Maiden community, especially the local churches are not ready for such a show; hence, the members and the supporting cast of the play should prepare for a major battle. However, the author has optimism that the architects of censorship will not win and that the show will proceed.