This past Saturday, I caught the theatrical equivalent of a double feature: seeing two plays in one day. With a Shake Shack break in-between. And the more I thought about it, the more I realize these two plays shared a very common (and I do admit, slightly arbitrary for the sake of this post), thread: they cross boundaries.
I started my day by waking up at noon, having cereal, and then heading into Manhattan for "Mr. Burns: A Post-Electric Play" by Anne Washburn at Playwrights Horizons. It deals with a post-apocalyptic world, where immediately after, a group of people act out old episodes of "The Simpsons" from their memories to keep themselves entertained.
And with "The Simpsons" becoming oral history, in the style of "Othello," it becomes something like a Greek drama in the second act (set 75 years after the apocalypse). It's a powerful concept: At the end of the world, after the power goes out, "The Simpsons," a work originally presented in the most philistine of mediums: sitcom television, have become the new classics: a Grecian-style tragedy with chorus, masks, and overtones of morality.
Low art has become high art. Or maybe it has always been high art and it just took the lights going out to realize it.