Mcguinness Dialect
The choice of having such deep stereotypes as characters allows for their actions to be predictable. However when one reads through the play, one cannot help but recognize and appreciate the true fourth character, which is the language. The choice of having three English-dialects helps to create at atmosphere that is both familiar for the audience and comical from the start. Through the use of dark humor McGuinness is able take a dire situation and bring light to it. The men themselves use language as a means to bring light to their dark cell. The only character that does not receive the true human quality of language is the captors. By keeping the Lebanese captors as bodiless and unknown the audience sees them as inhuman while instead recognizing
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that the three captives are more alike than they are different. They recognize these similarities through the use of language. McGuinness uses the back drop of Lebanon as an ambiguous “no-man’s-land” (Mikami, Hiroko).
It meant to be seen as timeless and although based on the actual kidnapping of Dr. Keenan, the backdrop of Lebanon can easily be substituted for another nation if the play were to be modernized. The final lines of the first scene solidifies that although these three men are very different, they are together in this. Adam states, “I miss my home” to which Edward replies, “I want to go home” (6. McGuinness, Frank). The three use language to voice their similarities. Although they speak different dialects, are from different cultures and disagree on many things, they all aren’t home. Their thick accents once used to separate them start to feel more alike as the play goes on and the three are united in their misery and uncertainty of the future. This is solidified even further when Adam declares that he is “in Lebanon” (6. McGuinness, Frank). To this Edward replies, “So am I” (6. McGuinness, Frank). This line is also meant to alienate the captors. The captors are home. They aren’t a part of this bonding experience of the three men. They are together in this and through their ability to communicate they recognize that they are not so different. The captors too see the three men as the same. To the captors they are not Irish, English and American. They are simply
prisoners. Scene Three allows for language to truly manifest itself into a fourth character. It is used to entertain the three men. They use language to collaborate on a movie together. This allows the audience to also use their imagination and drift into the words and imagery of McGuinness. This use of dialogue seems to transform the dark cell into a movie studio, in which directors are discussing how to make their film a success. This ability to manipulate language, though not stage direction or literal set pieces, is what makes McGuinness’s play unique. This movie also works to play into the characters stereotyping thus almost making their nationalities the background to storytelling. Edward begins the story by having it be centered on a Catholic Nun traveling to Lebanon to save the children. This plays into the traditional stereotype of an Irish Catholic. Adam then takes over and makes the story more violent thus playing into the stereotype that Americans are obsessed with cinematic violence. Adam then attempts to join in by creating a Gandhi-like figure which represents the beacon of the British middle-class of liberal values. The story itself becomes a character growing and changing against the backdrop which is the cultural heritage of the speaker. Thus although the literal characters of McGuinness’s play only grow so much, the fourth character, the language is consistently developing and adding depth to the play. Language develops the furthest in Scene 4 when Adam states, “I am an American, I am Arab. I am fucked. WE have that much in common” (22. McGuinness, Frank). This shows the realization that takes place. The play begins with the three men recognizing all their differences and by the end of the first scenes realizing they are similar. This lines in scene 4 shows the second jump in language that is made. The audience recognizes that although the captors are still unknown they too are now to be seen as human. They are equally as powerless within the globalized community. Adam’s recognition in this show the true development in ideology that can be made through discussion. This realization is then shared with the others more deeply at the end of scene five. The three use language to imagine themselves drinking. They then ask if their captors should be invited to drinks and when Adam nods that they should, Edward use language to welcome them to their imaginary bar. He goes on to say, “But of a song. A story. The same the world over” (35. McGuinness, Frank). This means that the realization has reached all three of the men. They are all one in the same and although stereotypes of their own culture, they are still all human. Oneness is achieved and although only in a fictional sense it exemplifies the true power of dialogue and language.
Conclusion
Although Someone Who’ll Watch Over Me lacks well designed characters, I recognize that this is stylistic choice of McGuinness. It’s meant to showcase that although we may only know the stereotypical portrayal of another nation, there is still the possibility of true understanding through the power of language. McGuinness also exemplifies that language, like a well-thought out character, develops. At first it can used as a tool to disjoin us, if we continue to use it, it can also unite us. It is meant to celebrate the human spirt and the ability to create stories through language. The ability to use language to create a film, such as the one written by the three men in the cell, or retell history, as showcased by Michael and Edward when they speak about Wimbledon. Language is the true focus of the play and the characters as only meant to act as the messenger. It may take a lot of dialogue to create peace between different cultures but if peace was found between Michael and Edward by the end, so can the rest of us.
that the three captives are more alike than they are different. They recognize these similarities through the use of language. McGuinness uses the back drop of Lebanon as an ambiguous “no-man’s-land” (Mikami, Hiroko).
It meant to be seen as timeless and although based on the actual kidnapping of Dr. Keenan, the backdrop of Lebanon can easily be substituted for another nation if the play were to be modernized. The final lines of the first scene solidifies that although these three men are very different, they are together in this. Adam states, “I miss my home” to which Edward replies, “I want to go home” (6. McGuinness, Frank). The three use language to voice their similarities. Although they speak different dialects, are from different cultures and disagree on many things, they all aren’t home. Their thick accents once used to separate them start to feel more alike as the play goes on and the three are united in their misery and uncertainty of the future. This is solidified even further when Adam declares that he is “in Lebanon” (6. McGuinness, Frank). To this Edward replies, “So am I” (6. McGuinness, Frank). This line is also meant to alienate the captors. The captors are home. They aren’t a part of this bonding experience of the three men. They are together in this and through their ability to communicate they recognize that they are not so different. The captors too see the three men as the same. To the captors they are not Irish, English and American. They are simply
prisoners. Scene Three allows for language to truly manifest itself into a fourth character. It is used to entertain the three men. They use language to collaborate on a movie together. This allows the audience to also use their imagination and drift into the words and imagery of McGuinness. This use of dialogue seems to transform the dark cell into a movie studio, in which directors are discussing how to make their film a success. This ability to manipulate language, though not stage direction or literal set pieces, is what makes McGuinness’s play unique. This movie also works to play into the characters stereotyping thus almost making their nationalities the background to storytelling. Edward begins the story by having it be centered on a Catholic Nun traveling to Lebanon to save the children. This plays into the traditional stereotype of an Irish Catholic. Adam then takes over and makes the story more violent thus playing into the stereotype that Americans are obsessed with cinematic violence. Adam then attempts to join in by creating a Gandhi-like figure which represents the beacon of the British middle-class of liberal values. The story itself becomes a character growing and changing against the backdrop which is the cultural heritage of the speaker. Thus although the literal characters of McGuinness’s play only grow so much, the fourth character, the language is consistently developing and adding depth to the play. Language develops the furthest in Scene 4 when Adam states, “I am an American, I am Arab. I am fucked. WE have that much in common” (22. McGuinness, Frank). This shows the realization that takes place. The play begins with the three men recognizing all their differences and by the end of the first scenes realizing they are similar. This lines in scene 4 shows the second jump in language that is made. The audience recognizes that although the captors are still unknown they too are now to be seen as human. They are equally as powerless within the globalized community. Adam’s recognition in this show the true development in ideology that can be made through discussion. This realization is then shared with the others more deeply at the end of scene five. The three use language to imagine themselves drinking. They then ask if their captors should be invited to drinks and when Adam nods that they should, Edward use language to welcome them to their imaginary bar. He goes on to say, “But of a song. A story. The same the world over” (35. McGuinness, Frank). This means that the realization has reached all three of the men. They are all one in the same and although stereotypes of their own culture, they are still all human. Oneness is achieved and although only in a fictional sense it exemplifies the true power of dialogue and language.
Conclusion
Although Someone Who’ll Watch Over Me lacks well designed characters, I recognize that this is stylistic choice of McGuinness. It’s meant to showcase that although we may only know the stereotypical portrayal of another nation, there is still the possibility of true understanding through the power of language. McGuinness also exemplifies that language, like a well-thought out character, develops. At first it can used as a tool to disjoin us, if we continue to use it, it can also unite us. It is meant to celebrate the human spirt and the ability to create stories through language. The ability to use language to create a film, such as the one written by the three men in the cell, or retell history, as showcased by Michael and Edward when they speak about Wimbledon. Language is the true focus of the play and the characters as only meant to act as the messenger. It may take a lot of dialogue to create peace between different cultures but if peace was found between Michael and Edward by the end, so can the rest of us.