In ‘Gidion’s Knot,’ Rogue Theater Company at the Richard L. Hay Center returns to the tragic theme of suicide

By Jessica Sage

Dear Jessica,

Several of your gripping plays have touched on the subject of suicide in various ways. “’night, Mother” was memorable, and shocking, even though I suspected the outcome early on in the performance. Since then, references to suicide were treated more indirectly and carefully in “Every Brilliant Thing,” “Chapatti,” “Stones in His Pockets” (most of us know about Virginia Wolfe’s suicide in the Thames), and “August: Osage County.” And now, coming up, “Gidion’s Knot,” which I plan to see. Is that because suicide is such a dramatic subject? Do you have some special interest in this subject? 

— Bill S.

Dear Bill,

Thank you so much for this thoughtful and timely question. Rogue Theater Company’s upcoming play, “Gidion’s Knot,” also grapples with the subject of suicide, so it’s especially relevant right now.

The exploration of suicide in theater has always fascinated me because it uniquely and specifically delves into the profound and often unsettling aspects of human experience in a way no other subject can. It also allows us to explore existential questions about life, death, and meaning in a raw, immediate way. The emotional intensity of grief, guilt and helplessness that comes with depicting suicide creates powerful storytelling and deepens the dramatic conflict, making the theater experience compelling and immersive.

Theater’s connection to catharsis is central for me. Watching characters deal with suicide, we share an emotional release, helping process difficult feelings in a communal space. The vulnerability of these characters, portrayed with raw honesty, creates a deep connection and reveals the complexities of the human psyche.

I’m also drawn to how theater uses suicide to comment on societal issues such as mental health and isolation. By portraying characters in intense despair, it challenges audiences to reflect on the societal pressures that contribute to these struggles. The hope is that this exploration fosters empathy and can inspire conversations about how to better support those in crisis.

Suicide in theater also challenges taboos, pushes boundaries and provokes thought. When a play addresses a topic that many people find difficult to discuss, it forces us to confront uncomfortable truths, making theater a powerful tool for social reflection. This is where I believe theater is at its most impactful.

Lastly, I appreciate the literary tradition of suicide in theater, from ancient Greek tragedies to Shakespeare’s works. This theme continues to influence contemporary plays, serving as a dramatic turning point that resonates across time. My fascination with this topic stems from its ability to explore life’s darkest corners, offering both creators and audiences a way to understand and empathize with the complexities of existence.

As you can see, Bill, this is a subject close to my heart, and I’m grateful for the opportunity to share my thoughts with you.

Theater lovers, what would you like to know about theater, acting, stagecraft, etc.? Send your questions to contact@roguetheatercompany.com. In the meantime, bring up the houselights, and let’s have some fun!

Jessica Sage is artistic director of Rogue Theater Company at the Richard L. Hay Center. The current production, Johnna Adams’s “Gidion’s Knot,” features Domenique Lozano and Erica Sullivan and is directed by Terri McMahon. Performances are held at Grizzly Peak Winery at 1 p.m. October 23 – November 10. Get tickets and information at roguetheatercompany.com or call 541-205-9190.

This column mentions suicide. Individuals in crisis or looking to help someone else who is can reach the National Suicide Prevention Lifeline by dialing 988, or visit 988lifeline.org for more resources.