By Douglas Langworthy, Literary Manager, Denver Center Theatre Company

Philip Pleasants and Mike Hartman in Plainsong. Photo by Terry Shapiro.
Here at the Denver Center we are currently mounting EVENTIDE by Eric Schmiedl based on the novel by Kent Haruf, author of the award-winning bestseller Plainsong, which we produced in Eric Schmield’s adaptation a few years back.
What I’ve been thinking about lately is terminology—while it’s true that the events of Eventide occur chronologically after the events in Plainsong, Kent Haruf prefers the term “companion piece” to “sequel.” The term “sequel” implies that you need to have seen the first play/read the first book to fully grasp the meaning of the second and, in this case, nothing could be further from the truth. Both stories stand on their own and tell a complete narrative. Yes, some characters from Plainsong appear in Eventide, but just as Plainsong has a beginning, middle and an end, so does Eventide. It’s true that having seen one enriches the experience of seeing the other, but in truth the plays stand alone and can be seen in any order.
All this got me to thinking about other famous companion pieces of the theatre. Lillian Hellman’s two plays about the greedy Hubbard family come immediately to mind: Another Part of the Forest and The Little Foxes. Forest was written years after Foxes even though in terms of the lives of the characters it chronologically precedes it. Tony Kushner’s Angels in America is composed of two separate plays—Millennium Approaches and Perestroika—but these plays are two halves of a whole (thus the over-arching title Angels in America) and as the action is continuous, should be viewed together to get the maximum impact. The dramatic appearance of the angel at the end of Millennium Approaches heralds (so to speak) the second play, Perestroika. Then there is House and Garden by Alan Ayckbourn, two separate plays played simultaneously by the same group of actors huffing and puffing between two different theatres. These are companion pieces of a sort, as it doesn’t matter which play you see first, but to truly appreciate the skills of the playwright and his acting team you really should see the other.
So to return to Plainsong and Eventide, wouldn’t it be great to produce both companion pieces in the same season using the same actors? To set the two dramas side by side and listen to them speak to one another? To create a true Coloradan event? As both plays have large casts, it would be a costly project, and these days that’s a big hurdle to overcome, but, hey, a guy can dream, right?

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