Waste
1906 British Play Resonates in Today's Political Environment
By: Victor Cordell - Feb 13, 2025
Nowadays it seems that many theatrical offerings have special resonance because of aspects that relate to our tumultuous political environment, even though the plays were probably selected before the recent presidential elections. With Waste, a British play by Harley Granville-Barker from 1906, the central themes smack the viewer in the face as if the play were written as parody of our political times. This answers the question of why produce this play at this time. But while we are accustomed to all manner of contentiousness today, this play was censored in England, and its public debut was delayed for 20 years because of its controversial content.
In Marin Theatre’s production, the performances are mostly exemplary, and the staging is striking. Certainly, the play’s subject matter is of great moment. But in keeping with late-Victorian English style, its text is highly mannered and stilted, which makes the characters seem distant and artificial, though some relief comes from a number of impassioned exchanges. The narrative could be trimmed to sustain interest.
Oddly, the two focal social issues in Waste are approached from very different perspectives today than at the beginning of the 20th century. In the play, Henry Trebell is an ambitious politician, esteemed for his trenchant analysis. He is wanted on the cabinet of the incoming prime minister because of his well-expressed views on disestablishment, the hot button item that proposes terminating the recognition of the Anglican Church as the official church of the United Kingdom. This church-state linkage had existed for centuries, since the time of Henry VIII. Consequences of this separation would include budget allocations, distribution of church assets, establishment of secular schools, and more.
In the United States, this is a vital issue arising from the opposite direction. We were founded on the basis of separation of church and state, and the First Amendment to the Constitution states “Congress shall make no law respecting an establishment of religion…..” Yet today, social conservatives and the religious right are attempting to impose their white Protestant religious vision on our people with initiatives such as tuition vouchers for religious schools and teaching the Ten Commandments and Christian religion in public schools.
The other important matter concerns women’s rights, and in particular, reproductive rights. On a one-night stand, Trebell has impregnated a married but separated Irish woman, Amy O’Connell. Learning of the pregnancy, Trebell reveals patriarchal and misogynistic views, as do his fellow politicians when made aware of the situation. The cynical and self-serving father-to-be regards the fetus as property that he owns, rather than as her or their child, even though he will not allow his paternity to be known. Like his benighted associates and Mr. O’Connell, he hates the smidgen of influence that women have on men after the freedom that men have granted them. And as may be attributed to a current politician, Trebell seeks power over women as well as men and has contempt for both.
In this country, after decades of improving rights for women and minorities, retrogression has resulted in the overturning of Row v Wade. In addition, attacks on Diversity, Equity, and Inclusion programs are turning back the clock.
These higher order issues play out against a backdrop of another vital matter, and that is scandal. As much as the prime minister would like Trebell in his cabinet, the scandal of a child out of wedlock would end his political career. The contrast with modern day America could not be starker. It seems that no scandal can impede a presidential candidate, or his cabinet nominees, or anyone else anointed by the president (except Matt Gaetz who was flushed not because of scandals, but because he was widely hated by his own party colleagues)
The narrative of Waste compels, with a couple of surprise shocks and an incisive inside view of political machinations among nominal allies. As Marin Theatre’s Artistic Director, Lance Gardner chose well for his return to the stage in the central role of Henry Trebell. He suits the part thoroughly, conveying competence, arrogance, and rage with great conviction.
Some of the finest actors in the Bay Area comprise the remainder of the cast. A vulnerable yet demonstrative Liz Sklar is notable as Amy. Joseph O’Malley doubles as Henry’s secretary and Amy’s husband, Justin O’Connell, and as the latter, he stalks the stage and chews the scenery in a vivid featured characterization.
Carey Perloff directs and deserves credit for her adaptation which eliminates most of Act 1, shrinks a number of scenes, and eliminates characters. While she skillfully manages the action and creative design, she could do more to rein in the text even further.
Waste, written by Harley Granville-Barker and adapted by Carey Perloff, is produced by Marin Theatre and is performed on its stage at 397 Miller Avenue, Mill Valley, CA through March 2, 2025.