Twilight: Los Angeles, 1992 Play by Smith

Table of Contents

Introduction
Interpretation
Evaluation
Conclusion
Work Cited

Introduction

Anna Deavere Smiths compelling play, Twilight: Los Angeles is a solo performance that dates back to 1992. The show, which was directed by Marc Levinson, delved into the aftermath of four LAPD officers beating Rodney King alongside the ensuing riots that took place in Los Angeles (LA) (Smith 107). The production was later turned into a documentary in 2000. The play was captured on film during a live performance at the Mark Taper Forum in LA (Smith 110). The set design was simple, with only a few chairs and tables, and a large projection screen behind Smith. Throughout the production, Smith portrayed more than 40 different characters, utilizing subtle costume changes and vocal transformations to distinguish between each one (Smith 110). This dynamic approach to acting brought each character to life uniquely and memorably.

Although the documentary version of the play has been widely viewed in academic settings, the majority of the audience consisted of regular theater-goers at the time of production. Out of the different performances, I was particularly impressed by Anna Deavere Smiths depictions of Soon Ja Du, the Korean grocer, and the LAPD officer responsible for Rodney Kings beating. Smiths ability to represent such distinct characters and give voice to their unique perspectives was truly remarkable. For example, she utilized physicality and vocal nuances to personify the characters arrogance and aggression. As such, it was a powerful portrayal that left a lasting impression on me.

During the performance, Smith maintained a negligible distance from the audience, speaking directly to the camera instead of acknowledging the spectators. This choice heightened the quality of the production and made it feel as if the viewer was being directly addressed. A breakdown of how the production explored critical issues such as social justice and violence alongside my opinion on the play forms the basis of this paper.

Interpretation

In my opinion, Twilight: Los Angeles, 1992 was a nuanced examination of the intricate issues associated with the Rodney King incident and the LA riots. The production serves as a powerful reflection on the underlying police brutality, societal tensions, and racism. The performance incorporated the documentary theater style, which uses actual people and events as the basis for creating a theatrical piece (Smith 112). For instance, it incorporated elements of verbatim theater since Smiths portrayals were informed by her extensive interviews with the individuals involved, creating an authentic representation of their perspectives.

On the other hand, violence is subtly portrayed in Twilight: Los Angeles, 1992, through the perspectives and voices of Smiths characters. Rather than depicting the acts directly, the play showcases the experiences and stories of those affected by them (Smith 122). A poignant example of this is when Smith portrays Kimberly, a young black woman who bore witness to the violence. The artist used this style intending to highlight the psychological consequences of violence on vulnerable individuals and communities.

Furthermore, the artist wanted to draw attention to the underlying systemic issues that contribute to violence and humanize its victims. Through the depiction of different characters, Smith illustrates the complexity of the situation in diverse settings. Notably, Smith incorporates the perspectives of Daryl Gates, the former LAPD Chief, and Korean American store owners who were directly affected by the riots. The section that follows highlights my evaluation of the Twilight: Los Angeles, 1992 production.

Evaluation

In my opinion, Twilight: Los Angeles, 1992 had a worthwhile intention. This is because the play serves as a lens to the crucial moment in American history and calls for self-examination of the audiences preconceived notions about racism and violence (Smith 200). The production effectively accomplished its mission by showcasing a variety of viewpoints and experiences. Particularly, Smiths performance was riveting, and her ability to assume different characters was outstanding. Furthermore, the artists objective of humanizing those impacted by the violence was efficiently and skillfully achieved. One example of this is when Smith portrays the character of Elizabeth, a white woman who was assaulted by rioters due to her unfortunate location. By portraying such vulnerable characters, the play highlights the intricate and multilayered concerns related to the LA riots.

The spectators were fascinated with Smiths remarkable ability to represent different characters. According to them, Smith was a perfect depiction of the critical issues associated with riots in Los Angeles. Concomitantly, the plays commentary on ethical discrimination and social justice makes me recommend it. This is because it highlights the need for continued social and political change to combat issues such as police brutality and institutionalized racism in the modern world.

Conclusion

Twilight: Los Angeles, 1992 is a deeply impactful production that skillfully captures the emotional and psychological toll of violence on both individuals and communities. Anna Deavere Smiths remarkable performances, combined with the use of verbatim interviews, create a vivid and powerful portrayal of the complex social and political issues at the heart of the LA riots. The play is a testament to the importance of humanizing those affected by violence, and its message remains pertinent in the modern world. I strongly recommend Twilight: Los Angeles, 1992 for its outstanding performances and its significant commentary on issues of social justice.