Motherhood in “Ruined” and “Homebody/Kabul” Tony Kushner’s drama “Homebody/Kabul” and Lynn Nottage’s play “Ruined” share many similar elements. Despite their settings in war ridden countries, each of these works importantly investigate the connections and relationships between mothers and their children. However, the “mother” figures represented in both plays do not sentimentalize the mother-child relationship nor do they recognize mother figures strictly within unchangeable biological connection. Rather, the “mothers” in these plays execute actions that disrupt the status quo, stir up change, and even multiply into doubles, whose personalities and ideas sometimes mirror and sometimes contradict each other. Ultimately, these plays...The end:
.....er. Tony Kushner’s “Homebody/Kabul” and Lynn Nottage’s “Ruined” examine the ways in which mothers create changes that effect their relationships, their daughters and themselves. The Homebody and Mama both initially established themselves as a tortured depressive and cold-hearted madam respectively. Through their separate actions, Homebody’s daughter Priscilla and Mama’s proverbial daughter Sophie reemerged as adults from their regressive states. Finally, both mother/mother figure transformed themselves. While Homebody is replaced by Mahala, Mama’s transformation is within herself. Works Cited Kusher, Tony. Homebody/Kabul. New York: Theater Communications Group, 2004. Nottage, Lynn. Ruined. New York: Theatre Communications Group, Inc., 2009.