The Shadow Box -- by Michael Christofer (1977)

Description
Here is another play that pleasantly surprised me. The play seems to be part Rabbit Hole, part The Subject Was Roses, part Next to Normal . . . Although I find many comparisons available, I maintain that the play is unique.

And what is it about?

Three individuals (Joe, Brian, and Agnes) are going to die soon with no prevention available from the hospital. They have been selected to be part of an experiment wherein psychologists will perform interviews with them to track . . . well, just what we don't know.

Throughout the play, the individuals step into a spotlit portion of the stage to speak with a voice coming from the void to discuss their attitudes and thoughts on death. Each individual has been given a cottage wherein they can spend their final moments. Loved ones are just about to visit each person.

Joe's wife, Maggie, arrives with their son, Stephen. Maggie has not told Stephen about the inevitable death and Stephen lives in youthful bliss.

Brian's current lover, Mark, is appalled by Beverly, Brian's ex-wife. Beverly is . . . a hot mess . . . and Mark is super-uptight. Their relationships with Mark dissect the "love" relationship.

Agnes' living daughter, Felicity comes to take care of her in the final moments. Agnes yearns for her other daughter's, Claire's, arrival. Spoiler alert: Claire has been dead for years and Agnes has been faking letters.

The fallouts and tensions in the relationships don't intersect in regard to plot, but they do intersect thematically.

Intellectually, I find this play to be downright stimulating. In retrospect, maybe I should have ranked it higher.

Candid Reactions

• Mandy Patinkin? Another surprising casting find!
• I'm intrigued by the use of the pronoun "we" in the stage directions. How purposeful was this? What does Christopher achieve in using this communal term?
• The complacent attitude in the response "sure" is interesting to discover (4).
• Joe's announcement that he gets "pissed off" is humanizing (6). That Joe questions if it is appropriate to use the term "pissed off" in regards to his attitude with death is also humanizing. 
• Steve's behavior around Joe is eerie, for whatever reason. 
• Maggie's anecdote about the plane ride is a cleverly hidden metaphor. 
• There is a theme developing on providence. 
• Some parallels to The Subject Was Roses are present. 
• Where is the triumphant music when Brian states, "I may have lost touch with the words, but I still have faith in them. After all, the universe isn't a syllogism, it's a miracle. Isn't it?" (15)
• Brian then swings to an ominous side by stating, "You always think you have more time. And you don't" (17). YIKES. 
• More providence development. 
• Ah, yes. Foils. 
• Christopher is so calculating in his development and his awareness of the audience's needs. Beverly's remark, "You're very graphic" (21) is a major relief to the audience. 
• Oh, shoot! A slap!
• The parallels to The Subject Was Roses continues. 
• Denial is a common response to diagnoses. 
• Whoa, Felicity took a turn there!
• The theme of "carrying" is multifaceted. 
• Brian's attitude is either inspirational or pathetic based on your thoughts on death. 
• I love how honest Brian is. 
• Whoa, Felicity again!
• The commentary on shaking is disturbing. 
• The final line to Act One is genius. The blending of the voices was magical. 
• The arguments about how time is spent are tense. 
• Claire's story is devastating. 
• An investigation to human motivation is available on every page of this play!
• The value of words are questioned throughout the play -- another rich discussion-starter. 
• The Beverly vs. Mark conflict provides enough psychoanalysis for a senior thesis. 
• I can hardly keep it together at this exchange:

• Joe: What did we have that's finished?
• Maggie: Us. Us. (75)  

• The end exchange between Maggie and Joe reminds me of the final conversation and tableau of Rabbit Hole. 
• Thank you, Christopher, for allowing Brian to share one final life-affirming message near the end of the play. 
• What a spine-tingling ending!

Top Two Aspects/Reasons for Winning
1. Individuality and Death
The cast is small, but the viewpoints are diverse. Somehow, Christopher succeeds in representing a range of perspectives without caricaturizing. Akin to Rabbit Hole, this play highlights how uniquely individuals approach and perceive death. Christopher captures general human experience via highly specific personal experiences. What a feat!

2. Narrative Structure
I expected the interview motif to play a more prominent role, but I was glad that it did not. I was thrilled when Christopher started to intertwine the dialogue. The braiding technique strengthened the themes of the play and, pardon the pun, enlivened the discussion. Christopher prevents boredom to accrue from a bunch of philosophical monologues. The fast-pace changes of dialogue serve as disorienting, yet meaningful transitions . . . How appropriate for a play on the anticipation of death. 

Classroom Implications
I couldn't necessarily envision using this in a high school setting, but I think that students could find the commentary on death engaging. If I did use it, I would focus on narrative structure and character development.

Personal Takeaway
Sometimes narrative structures are more exciting than plot-twists!

Ranking

	Dialogue	Characters	Plot/Conflict	Symbol/Literary Devices	Overall Enjoyment	TOTAL SCORE 8.75
0	Unfollowable; unrealistic; diction does not match character	Undeveloped; does not reflect humanity	Not engaging; predictable; reader can step away from text because it isn’t gripping	Devices are apparent for cleverness and do not enhance the story	Reader has no interest in re-reading play
1	Not consistently realistic	Well-developed; most depictions reflect humanity	Semi-engaging; some unnecessary plot-points	Devices somewhat enhance story  (1.5)	Reader would re-read with pleasure and reminded of work
2	Realistic; connotative; diction matches characters (1.75)	Fully-developed; depictions reflect humanity (2)	Engaging; unique; reader finds it impossible to put down text because the conflict is so gripping! (1.75)	Devices seamlessly enhance the story and provide rich interpretation	Reader would re-read the play on own volition, enthusiastically (1.75)