Comparing Shoe Horn Sonata By John Misto And Porcelain Unicorn

Distinctive images can successfully delineate universal themes, engaging viewers and resulting in a parallel between them and the lives of others. Both, Shoe Horn Sonata by playwright John Misto and Porcelain Unicorn, by Keegan Wilcox, explore this concept through their visually portraying the overarching themes of amity and alleviating the past relating to the unfortunate circumstances of two characters. Distinctive images are harnessed by the playwright and director by using significant symbolic objects and visual techniques that convey the two ubiquitous themes to put the viewers in the perspective of alternate individuals.

In The Shoe Horn Sonata, Misto explores a crucial, yet universal, theme of amity between Bridie and Shelia as they

endure their current past and present predicament. The artificial mother-child relationship between the 2 main characters is foregrounded early in the play, as Misto uses the intimate dialogue in the motel setting as Bridie addresses Sheila as “girl” and Sheila expresses “You were worse than my Mother”. The hostile tone establishes a tension that foreshadows a past event, prompting a curiosity that engages viewers. Misto visually symbolizes the shoe horn to represent the unity between the two characters, as Bridie used it, “just a gentle tap”, to keep Shelia alive. On the other hand, the meaning of this visual symbol changes to one of secrets and sacrifice leading to both Sheila and Bridie being “isolated in spotlights”. Misto uses this visual lighting to engage viewers in the escalated conflict between them. However, towards the conclusion of the play, Misto manifests a cathartic moment that reconciles their relationship as Sheila returns Bridie’s shoehorn. The reconciliation is reaffirmed visually by the play ending with a bright spotlight shining on the shoe horn juxtaposed by surrounding darkness, conveying its influence of reuniting Bridie and Sheila. Misto explores the evident theme of companionship by distinctive images to create empathy and a relatable subject matter to engage viewers in the lives of the two characters.

In the Porcelain Unicorn, Wilcox portrays the emergence of an improbable theme of amity between two dissimilar individuals, manifesting an engaging encounter.

Firstly, Wilcox fabricates an idea of the girl’s necessity for companionship by establishing her vulnerability through visual characterization, the mise-en-scène of the stick figure family revealed in an over-the-shoulder medium shot suggests her isolation. Additionally, Wilcox reinforces this by the close-up of the plush monkey that mimics the girl's helpless body language, creating an engaging parallel between the intimate object and the girl. The unlikely companionship is first highlighted by the powerful distinctive image of the two hands holding the symbolic unicorn, this visual trope is used to represent the newly found unity between them. Wilcox reiterates the universal theme of amity by metaphorically portraying the lighter used by the young Hitler Youth. The light emanated from the lighter is the brightest whenever there is a period of solidarity between them and is only extinguished by the Nazi officers, indicating them as the impediment of their friendship. Ultimately, Wilcox visually depicts the initial juncture that created the bond between the two-unalike youth which creates an engaging scenario for

viewers.

In The Shoe Horn Sonata, Viewers are engaged by Misto’s distinctive images that portray Bridie and Sheila confronting and alleviating their troubling past. The disturbing past is established by multimedia images and sound effects, including a depiction of the prisoners as “stick-thin” and the harrowing “cries of women”. Misto uses these to visually enhance the story by creating an atmospheric and evocative ambience, engaging viewers in Bridie and Sheila’s reality. Furthermore, Misto suggests the healing process of the two characters as they relive their past and their withheld personal secrets. The viewers are given insight to Sheila’s unrevealed secret through stage directions, as Bridie states her disgust for “sleeping with a Jap” and Sheila “does her best to conceal any reaction.” Although the unravelling secret results in a conflict in Scene 8, Misto conveys the necessity of the confession to subdue the past. Misto indicates that Bridie and Sheila have successfully nullified the past as they celebrate through a dance to a joyful tune, The Blue Danube, paired with the gradually darkening stage that represents the fading bearing of their unfortunate prior circumstances. Whilst, Misto signifies the difficult nature of Bridie and Sheila’s past, He engages viewers in their endeavour to alleviate the detriment of their experiences by creating an omnipresent message of the significance of facing your tribulations.