‘Singin’ in the Rain’ this isn’t

Susan Block, the founding chair of the department of psychosocial oncology and palliative care at Dana-Farber Cancer Institute and Brigham and Women’s Hospital, has been caring for terminally ill patients for over thirty years. She initially found it hard to envision how Daniel and Patrick Lazour, who sought her counsel, would successfully create a musical centered around her solemn field of expertise.

“I had some reservations about a musical focused on death and dying,” stated Block, also the founding director of the Harvard Medical School Center for Palliative Care. “I genuinely enjoy all types of theatrical performances and appreciate musicals. Yet, I struggled to reconcile this subject matter.”

However, she revealed that her skepticism faded after witnessing the initial run-through of “Night Side Songs.”

“By the conclusion, it felt as though we had collectively experienced something significant,” Block remarked.

“During my time as a medical student and intern, I was discontented with the treatment of dying individuals in hospitals. I felt they were treated like children…”

Susan Block

“Night Side Songs,” inspired by the insights of writer and cultural critic Susan Sontag who remarked that “illness is the night side of life,” unfolds through the perspectives of physicians, patients, researchers, and caregivers. It was commissioned by Harvard’s American Repertory Theater and will be performed at the Cambridge Masonic Temple through Sunday and Hibernian Hall in Roxbury from April 9-20.

The narrative follows Yasmine, a young cancer patient portrayed by Brooke Ishibashi. The Lazour brothers undertook extensive research into end-of-life care and personal experiences, requesting Block’s feedback on drafts and attendance at read-throughs to provide insights on authenticity.

“I believed they authentically captured critical aspects of the experience from the perspectives of patients, caregivers, and family members, as well as clinicians, in a profoundly emotional, intense, and beautiful manner,” Block expressed, noting that she has attended the show multiple times since its debut.

Block attended medical school in the late 1970s and early 1980s, a time when palliative care was virtually nonexistent. She has been at the forefront of researching the psychology of dying and advocating for the inclusion of palliative care in hospitals nationwide. Today, a musical is encouraging discussions on and greater awareness of the end of life.

“As a medical student and intern, I was unsettled by how dying individuals were treated within hospitals,” she recounted. “They were often treated childishly during a time when the truth about their conditions was frequently withheld, where pain management was inadequate, and the emotional anguish and grief associated with impending death were largely overlooked, leaving families to navigate these challenges alone.”

Since that era, palliative care has emerged as a recognized specialty, enlisting thousands of physicians throughout the country. Nevertheless, Block noted that society still falls short when it comes to openly addressing topics surrounding death and dying.

“Providing people with the opportunity to engage in conversations about this subject allows for exploration, as many of us deepen our understanding and processing through discussions within our communities,” she stated. “For individuals who are seriously ill and facing death, there’s a concern that expressing feelings of distress regarding their illness might upset their loved ones, while the partner may feel the need to shield them from their own sadness. This mutual silence fosters immense isolation for both parties.”

Significantly, “Night Side Songs” is not being presented at the A.R.T.’s Loeb Theater, which has the capacity to accommodate more than twice the number of attendees compared to either Masonic Temple or Hibernian Hall. Both venues also facilitate theater in the round, with patrons seated in a circular formation surrounding the performers.

As per A.R.T. Artistic Director Diane Paulus, the intention behind performing in these more personal settings is to encourage audiences to forge connections with both the actors and with one another.

“Transitioning from a strict proscenium arch to a circular format, minimizing the audience size to enhance intimacy, is crucial,” she noted. “Our mission is to broaden the horizons of theater. We consistently seek productions like ‘Night Side Songs’ that challenge our perception of theatrical formats.”

Another element that unites the experience, Paulus highlighted, is the encouragement for the audience to join in singing.

“The manner in which they invite participation is both welcoming and elegant. Audiences can sing along as well as listen… It truly extends an invitation for attendees to engage with the material on a profound level,” she stated.

Block believes “Night Side Songs” will resonate with anyone who has been affected by significant illness.

“When faced with illness, there’s a desire to trust that science and medicine hold the answers and that everything will turn out fine,” she articulated. “Yet, unexpected developments can arise, and I found that the play addressed the uncertainty and the unpredictability of outcomes in an incredibly genuine and touching manner.”

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Further details about the show and tickets can be accessed on A.R.T.’s website.