The Children’s Hour turns out to not be as child-friendly as its name might suggest.
As it touched on a taboo, homosexuality, and was set in 1930s America, the play was not well-received by the public. It was initially banned in Chicago, Boston, and even London. However, the play later became significantly well-known, so much that there was even a film adaptation.
So, how did a play initially despised by the public become considered groundbreaking you may ask?
The further we go back in time, the more ignorance of social problems and prejudices there seemed to be. Many instances included racism, homophobia, drugs, crimes, etc. Of course, people chose to paper over it, avoiding direct contact and consideration. Hence, wouldn’t it be such an irony if people went to the theater for an enjoyable time, yet everything on stage was addressing exactly what they were shying away from?
But what are they actually afraid of? The plays? Or the cruel realities they portray? Doesn’t that mean people are scared of their own emotions? Yes, indeed. Humans usually fear new notions, things they do not have enough knowledge about to control. This stems from the resistance to admit that they are wrong, that their beliefs and mindsets are not as concrete as they built them to be. Therefore, people may refuse any opportunities to be corrected. The same happens when the audience is confronted by a controversial play. The moment the play introduces them to conceptions different from their original notions is also the moment the audience instantly wards off from fearing the fact that a play might evoke something triggering. Wouldn’t it be better to just stay in the safe zone?
On the other hand, this raises the question of whether it is time we alleviated the fear-factor and encourage a new age of fearlessness and open-mindedness. The nature of arts, and especially theatre, has been known to be beyond entertainment, but conversations of inner moral values as well. Musicals possess the ability to deliver a story in its most unique and awakening form, making them rawly complex. The entertaining polish of musicals therefore further heightens emotions, provoking atmospheres and moods in ways that words alone cannot explain. It is in these moments of excitement that every boundary between the audience and actors is broken, unveiling all fears of the truth.
Theatre is life on stage, and controversies are an inevitable part of life. Instead of brushing those aside, theatre helps people to slowly, but surely come to terms with the fact that in order to grow, it is essential that they confront all corners of reality.
Musicals originated so long ago, first written by any individuals believing that truly living and truly writing about living, is neglecting all the limits and boundaries. Without the jam and melody, we lived in black and white. But now we are in technicolour.