Textual Problems
When considering "Man and Superman" for production, one of the first issues to be tackled inevitably ends up being the debate of whether or not to include "Don Juan in Hell", the play's philosophical monster of a third act. In this hour-plus dream sequence, Shaw basically expounds upon his entire philosophical underpinning for the show via the mouth of Don Juan (played by the same actor as John Tanner) against the equally compelling arguments of the Devil (played by the same actor as Mendoza). However, this segment does not contribute to the plot or direction of the "primary story", that is, the pursuit of Tanner by Ann. For this reason, many theatres may choose to omit "Don Juan" on the basis that modern audiences simply don't have the stamina for such a long play (which consistently clocks in at well over three hours even without "Don Juan"). Another mild issue is the single use of a car on stage (act 2 with Henry Straker).
Contextual Problems
Within the auspices (or confines) of Sam Houston, there are certain considerations that need addressing should a production of Man and Superman be staged here. Firstly, if performed in the showcase, I would see no way to utilize the car at all unless it was some sort of flat cut-out (which this dramaturg feels would diminish the scene and its believability). More importantly, certain scenes such as those set in the Sierra Nevada and accompanying villa are absolutely replete with characters on stage at the same time. Within the showcase, this is a serious concern. Should we somehow obtain the mainstage for this production, space becomes less of an issue. The "Don Juan" issue remains regardless of the space, as it is moreover an issue of time.
Other Productions' Solutions
Concerning the car, most seem to have displaced it to offstage, which is certainly the simplest solution. However, some have incorporated it into the show in a ophysical manner, ojne company going so far as to construct a small car for Tanner and Straker to escape in. As for the space issues, companies have solved it simply by having enough space, in most cases. however, some have reduced the characters on stage at peak times in order to clear the stage. On "Don Juan", there have been a myriad of solutions ranging from the direct to obtuse. Some simply truncate the sequence and keep it in the show, though that seems to hamper the effort of the show in general (when it is truncated). Most, however, simply omit the sequence in favor of moving the story along. My personal favorite solution would have to be the seperation tactic. Several theatres have simply seperated "Don Juan" and performed it as a companion piece to Man and Superman, viewable at a different time for those who wish the philosophical underpinnings of Shaw more profoundly expounded.
Critical Response
The central critical issue seems to be, yet again, "Don Juan in Hell". Some critics were bored by it's inclusion, though by and large, critics favored those productions willing to keep it in the production or at least include it as a companion piece. Another issue many critics took was the unsatisfactory portrayal of Ann, as it is quite a difficult role to fill without being hated (which few actresses are willing to do). Several critics advised additional paring down of (now) antiquated references, this script having been written in 1903 about the I.R.C. (Idle Rich Class). Critics both praised and damned abstract sets for this show, duly noting that there is quite a bit of change in scenery from one scene to the next.
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