In choosing future productions, any theatre would be shortsighted if they didn’t consider the possibility of doing a play by John Mighton. His understanding of the arts is aided by a plethora of experience in the field of mathematics and education. Mighton’s works blend philosophy, mathematics, and scientific theory into a cohesive narrative that begs to be revisited in order to reach a full understanding (Innes, 20-26). Mighton ability to pose questions in a play’s subtext, his curiosity on consciousness and accessibility to modern audiences allows for audiences of varying perspectives to enjoy his narratives but still think deeper about his concepts.
Mighton was born in Hamilton, Ontario and completed his Ph.D. in mathematics from the University of Toronto, where he now teaches. He is a Fellow of the Fields Institute for Research in Mathematical Sciences. Mighton also appeared as a Teaching Assistant in the film Goodwill Hunting (1997) after advising on the screenplay.
Possible Worlds was written in 1990 and published in 1997. Possible Worlds, along with Mighton’s Short History of Night, won him his first Governor General’s Award for English-Language Drama in 1992. In 2010, he was awarded the title of Officer of The Order of Canada for his services to the arts. In 2000, Possible Worlds received a film adaptation.
Possible Worlds is a science fiction mystery-thriller following a, factually varying, history of George and Joyce’s relationship during an investigation into missing brains. It takes place in a “simulated reality”, this differs from standard narrative styles as the audience is left to decide what is true to the reality of the story. In a “simulated reality” the characters, or individuals, would not be aware of their removal from real life, as they would be in a “Virtual Reality.” In the case of Possible Worlds, this is shown by the transient nature of the timeline. The incongruity and lack of true chronology of events show the audience, not only the present events of the investigators but also the real and/or fabricated past events of George and Joyce. By using scientific concepts as “red herrings” or “MacGuffins” (for example, the relationship between George and Joyce) Mighton is able to pose deeper questions to the audience about self, perspective, and our understanding of the human brain. Instead of simple character analysis, the actors and audience must be aware of how the overarching concept initially shaped the character and how it has led or harmed them through the narrative. During a production at the Stratford Festival, Director Mitchell Cushman staged the play in two inches of water (Sharkey) (Nestruck). This simple production change shows the adaptability of the play and how the stylization of modern theatre has not stagnated. Possible Worlds questions the ethics of scientific advancements and challenges our, already incomplete, understanding of the human brain and consciousness.
Mighton is a good example of a writer who is able to re-introduce audiences to the theatre, as well as challenge any pre-conceived audiences may have in their understanding of traditional theatre. His plays are written colloquially but without sacrificing subtext and dramatic irony within the lines. To understand the appeal of Mighton’s narrative and concepts, Possible Worlds has been performed internationally, in Canada, The United States, and Romania. Within Possible Worlds, there is equal treatment given to the thoughts of George and Joyce within the confines of the narrative. His style of both conceptual and colloquial writing allows contemporary audiences the opportunity to build there own meaning. Mighton, as Passible Worlds, has been described as “post-modern” in his lack of acceptance of an overarching moral (Rush, 183-227). Instead of morals, Mighotn poses questions for the audience to keep and find their own answers. There is no standard “Hero” archetype in Possible Worlds, as it is questioned if George’s actions were made independently or were fabrications of the past. This rejection of traditions allows Mighton to create a narrative closer to reality than his classical counterparts, while still maintaining an efficient means to properly highlight his characters, themes, and concepts audience may find foreign in a theatrical environment (Hampton). MIghton’s wisdom as an artist allows him to meld his creativity and intelligence into a cohesive product, never relying on tropes or cliché.
Performing one of Mighton’s plays would be beneficial to any theater, in order to highlight the growth of theatre as a medium. Mighton’s work poses ethical questions, however, an audience strictly relying on his narrative form can still enjoy it. Possible Worlds, or any one of Mighton’s work, would be a great choice for a theatre looking to reintroduce or challenge surrounding communities assumptions on theatre as a medium, perceptions may not be as they seem.
If you are interested in learning more about John Mighton you can follow him on Tiwtter @JohnMighton or watch his TEDxTalk on “Invisible Problems”.
Work Cited
Hampton, Wilborn. “Aliens, Earthlings and Stolen Brains.” The New York Times, The New York Times, 17 Aug. 1996, www.nytimes.com/1996/08/17/theater/aliens-earthlings-and-stolen-brains.html.
Innes, Christopher. "Bridging Opposites -- Drama and Science -- in the plays of John Mighton." Canadian Theater Review (2007): 20-26.
Rush, David. A Student Guide to Play Analysis. Carbondale, Illinois: Southern Illinois UP, 2005. page 183-277
Sharkey, Jackie. “Cast Wades through Water in Stratford Festival's Possible Worlds | CBC News.” CBCnews, CBC/Radio Canada, 24 Aug. 2015, www.cbc.ca/news/canada/kitchener-waterloo/stratford-festival-s-possible-worlds-has-actors-ankle-deep-in-water-1.3201784.