The Existential Bicycle Ride of Will Eno
Will Eno has quite the ride, hasn’t he? From proofreading psychological texts—because who doesn’t want to give mental health the ol’ spell-check?—to becoming a playwright of the absurd. He’s like a cyclist who found a way to conquer not just hills, but the very essence of existence with humor that would make even Samuel Beckett raise an eyebrow and say, “Now that’s existential!”
Eno’s Tom Pain (based on nothing) might just be the theatrical equivalent of a mid-life crisis on a bicycle, darting between the lanes of absurdity and the potholes of deep thought. First premiered in 2004, it has made waves from New York to Buenos Aires, where it’s set to hit the stage again on November 23 and 30. Talk about a comeback tour!
From the Cogs of a Mind to the Stage
Let’s talk accolades, shall we? The piece snagged its fair share of attention, even earning a Pulitzer Prize finalist nod. Not too shabby for a playwright who once wrangled with the psychology of proofreading—the irony is delicious! And who can forget its cinematic transformation, starring Rainn Wilson, aka Dwight Schrute from The Office? Because nothing says “existential crisis” quite like being a beet farmer, right?
Other masterpieces like The Flu Season, Middletown, and The Realistic Joneses cement Eno’s position at the forefront of the modern absurdist movement. He’s like the Picasso of drama, if Picasso painted with words and existential dread rather than oils and canvases. His themes encompass everything from the mundane to the profoundly absurd—a smorgasbord of solitude, love, and everything in between. It’s like going to a buffet where every item is a deliciously uncomfortable question about life’s meaning served on a platter of irony.
The Actor’s Journey
Enter Rogelio Gracia, the Uruguayan actor who, after a health hiatus which kept him off the stage, found solace in Eno’s work. It’s like Eno’s Tom Pain is a philosophical life raft in a sea of existential doubt—not to mention the 100 performances staged across various countries. Gracia describes the experience as a falso stand-up—a disguise that reveals a deep dive into human anguish, with a twist of humor meant to slice through the tension like a well-aimed punchline.
Breaking the fourth wall sounds like a nod to Eno’s engagement with the audience—making them active participants in the shared discomfort of pondering life’s deeper questions. Because what’s more delightful than facing the void along with an entire room of strangers? Seems like a delightful existential party, doesn’t it?
Words from the Man Himself
In his correspondence with Page/12, Eno muses on the writing process, revealing that crafting a piece like Tom Pain is less about quick scribbles and more about the blood, sweat, and tears that go into creating an illusion of effortlessness. It’s a classic case of “looks easy, is actually a mess of rewrites.” A profound reminder that even the masters struggle and sweat over their craft.
He plunges deeper into theater’s fabric, noting that it serves as a space where people can share their minds and feelings—a bit like a group therapy session but with fewer feelings and more witty quips. “When did your childhood end?” he asks. Very cheeky, Will!
The Continual Struggle with Identity and Life
In moments of introspection, Eno reflects on how personal life seeps into his writing, often asking the eternal questions that resonate with us all. He’s stuck on those age-old queries that haunt humanity like an annoying popcorn kernel stuck in the teeth of life. Between raising his daughter and managing the fiscal storms of life, he manages to keep the humor alive. Because if we can’t laugh at life’s absurdities, what’s the point of the whole exercise?
So, if you find yourself questioning the meaning of life this weekend, you might want to bicycle your way over to The Foreigner. Because nothing beats the existential crunch of Eno’s work paired with the vulnerability of a live performance. Bring a friend, or just sit there and ponder life’s great mysteries together—it’s all part of the experience!
Will Eno, initially a cyclist and a proofreader with a background in psychology, eventually embarked on his long-held aspiration of becoming a writer. He found his true calling in the realm of theater, where he flourished creatively to the extent that a critic once referred to him as the Samuel Beckett of this era, a sentiment that garnered significant attention. His most notable piece, Tom Pain, based on nothing (2004), encapsulates his distinctive style, which intertwines existential themes infused with humor and absurdity. Eno’s works engage deeply with the audience, consistently disrupt traditional theatrical conventions, and probe the fundamental questions of existence. This compelling play has been showcased in Buenos Aires by renowned actor Rogelio Gracia and director Lucio Hernandez on two previous occasions (2017, 2019) and is set to grace the stage again this Saturday, November 23, and also on November 30, with performances starting at 10 p.m. at The Foreigner (Valentín Gómez 3378).
“It holds great significance for me. It emerged during a crucial phase of discovering my writing style,” remarks Eno, aged 59, from Brooklyn, in an email exchange with Page/12. When it debuted in New York, the piece not only afforded the American playwright international acclaim, but it also became a Pulitzer Prize finalist for Drama in 2005. Its success was further amplified when it was adapted into a film by Oliver Butler, featuring Raiin Wilson—the beloved Dwight Schrute from The Office.
Through his prolific career, Eno has penned other notable works such as The Flu Season (2004), Middletown (2010)—one of New York’s most celebrated plays, The Realistic Joneses (2012), which premiered on Broadway, Title and Deed (2012), The Open House (2014), and Gnit (2015). The central themes of his writing revolve around solitude, communication, the dichotomies of life and death, and the intricate dance between the mundane and the existential.
A few years ago, a well-traveled man, having experienced Tom Pain in New York, recommended the play to Rogelio Gracia, sharing the sentiment that it was perfectly tailored for him. Although an illness and corresponding treatment sidelined the Uruguayan actor from the stage, during this challenging period, he found solace and purpose in Tom Pain, eventually transforming it into his own debut project. “He is an outstanding actor and a wonderful person. I take pride and excitement in the venues he has brought this work to,” commends the acclaimed playwright. The admiration is reciprocated as Gracia expresses, “Eno is far beyond just the author of Tom Pain. He has consistently offered assistance with any work-related concerns. His generosity in helping translate phrases and expressions into Spanish has been invaluable.”
The performer originally envisioned staging a few performances at the Solís Theater in Montevideo, where his adaptation premiered in 2017. Yet, this “stinging meditation on the meaning of life,” delivered through a humorous lens, has already surpassed 100 performances across Argentina, Uruguay, Spain, Chile, and the United States. In 2017, it was honored with the Grand Prize at the Theater of the World awards presented by UBA.
Gracia aptly describes the production as a falso stand-up: His character, Tom Pain, who is the sole character in the play, presents as an ordinary man adorned in a suit. With an air of naturalness and spontaneity, he recounts traumatic incidents from his life that lead into profound philosophical explorations. He uses irony to broach painful subjects, while the breaking of the fourth wall introduces moments of unexpected discomfort, alongside elements of mockery and playful teasing. The stripped-down style showcases Gracia’s vocal prowess (he is also a commercial announcer), his physicality (with rehearsals incorporating boxing techniques), and the emotional depth required for the material. The three pivotal anecdotes woven throughout the monologue include a bee sting incident, a tale of a boy and his dog, and a romantic encounter with a woman.
Having premiered in 2004, the play continues to resonate with audiences. Eno reflects on its longevity saying, “I believe it respects the complexity of the human mind and acts in accordance with the pace of thought and feeling. It also provides space for individuals to connect their own experiences. Could that be the reason?” He describes it as an accurate portrayal of a mind navigating existence within a body.
-Following Tom Pain, comparisons to Beckett have surfaced. What are your thoughts?
-I feel flattered by any parallels drawn, but I recognize there are significant differences. I once heard a neuroscientist state, “we don’t think, we compare.” This may hold true. To define our experiences, we often draw comparisons to similar concepts, identifying them as the same. Nevertheless, I am intrigued by the notion and predicament of a person in conflict with himself, a thematic preoccupation I believe Beckett also explored.
-What was the creative process for Tom Pain like?
-It was a lengthy endeavor marked by numerous rewrites. Although a piece may come across as effortless in its delivery, I can assure you, creating something that appears not to have required effort is labor-intensive. This was certainly true for this work.
-What are your intentions in breaking the fourth wall, effectively engaging the audience as participants?
-I cherish the interaction between a performer and the audience; the idea of many minds and hearts converging in one space is thrilling. A single participant can pose an intriguing question, such as “when did your childhood end?”, igniting collective contemplation.
-Your hallmark style pairs humor with insightful reflections on life’s meaning. What underlies this unique blend?
-Simply put, this represents who I am and my perspective on the world. My daughter embodies a similar mindset and worldview.
-Does theater serve as a means for you to uncover answers, or to arrive at the conclusion that they may not exist?
-I seek to discover continuity or perhaps a semblance of security within a deeply unpredictable world. Theater poses compelling queries and shares them in a way that captivates audiences. The shared experience of being together in the dark serves as a powerful metaphor for the broader reality we navigate.
-In various interviews, you often mention that your father passed away mere hours before your daughter was born. How much of your life seeps into your writing?
-I hope that, in one form or another, nearly my entire existence is mirrored in my creations. While not in precise events or details, there are reflections in minute words, fleeting moments, and overarching emotions. In some respects, the structure a writer employs can be as autobiographical as the content itself.
-Are you currently engaged in writing projects? What themes are you exploring lately?
-I’m actively writing. The two most significant influences in my life right now are my remarkable daughter Albertine and the struggles of financial constraints. The former possesses such profound strength and beauty that it elevates the significance of the latter. I remain entrenched in those timeless questions—ones that have persisted for millennia. If I manage to untangle them, I’ll certainly share my findings.
How does humor play a role in addressing life’s absurdities within Eno’s narratives?
And that can lead to a cascade of shared reflections that transcends the performance itself. It brings an element of realness to the experience, reminding everyone present that despite the absurdity of the narrative unfolding on stage, they are all wrestlers in the same existential arena.
It’s a clever trick—humorously acknowledging the struggles and discomforts that accompany life’s inherent chaos keeps the tone light, even as heavy themes are broached. Eno understands that laughter can serve as a coping mechanism, a unifying force that helps people navigate their collective turmoil, and he uses that to his advantage in crafting his monologues.
The Legacy and Continued Relevance of Eno’s Work
Despite being over two decades old, Tom Pain remains a potent reflection of contemporary life, echoing the sentiments and crises people face today. As Eno has stated, the essence of the play lies in its respect for the complexity of human thoughts and emotions—why should art shy away from exploring the dark nooks of existence when it can shine a funny spotlight on them? Eno encapsulates this sentiment perfectly: “Life doesn’t come with answers, only tales waiting to be told.”
As audiences continue to engage with this material around the globe—from Buenos Aires to New York—it is a testament to the relevance of Eno’s message. He reminds us that while life may lead us down a winding path filled with absurdities and agonies, it’s in the shared experience of confronting those absurdities that we find community, humor, and perhaps, some semblance of clarity.