Directed with clarity and sensitivity by Gus Kaikkonen, the sets, stunningly simple, evocative of time and place by Charles Morgan, lovely costumes by Sam Fleming, sound and original music by Jane Shaw, this play deserves our attention. It is a descendent of Ibsen and owes much to that master of realistic social argument, the theatrical presentation of ideas.Read More
Author: Ann Firestone Ungar
In Shakespeare’s ending, the reunification happens through resurrection of Marina and Thaisa, both thought to be dead. That ending was probably deeply satisfying to Elizabethan audiences who were largely Christian. For the 21st century audience, which may be less religiously inclined, this current story is perhaps more satisfying, more true to our understanding of the human psyche, post Freud and the scholars and physicians whose work is to heal in our challenging, conflicted civilization.Read More
The Suits (Wall Street, Silicon Valley, etc.) dismantle Lady Liberty, a large green cutout, their intent to destroy what makes our country great. And they nearly succeed. But the Lady’s head disappears, and they’re frantic, because the brain is where ideas such as clean air and water, green cards, and the rule of law applied equally to all citizens and to the government itself, reside. But have no fear. The Lady’s head is safe, and it reappears at the end of the play in the safe hands of a wise Buddhist monk. We’re reasonably sure that truth will endure and love will prevail, despite the Suits chant of “Lock her up!”Read More
In 1966, when Tom Stoppard reimagined Hamlet by plucking from it two minor characters and giving them fully developed personalities for his groundbreaking existential play Rosencrantz & Guildenstern are Dead, perhaps he suggested to the fertile imagination of playwright Mark Jackson a way to reimagine The Oresteia by Greek playwright Aeschylus, c. 500 B.C.Read More
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