She looks for the patriarchy to help to no avail and dreams of angels, messengers – yes, sisters – to come to her aid. And they do come with their own experiences to share and insights to offer. The flow is gorgeously seamless between clowning and dance.
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Sexy, dirty and reflective of politics hijacking humanity, this production of Coriolanus is a pretty satisfying bit of entertainment.
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Holmes is a fearless improviser. She has no idea what the audience members will say or do when she brings them into her show. Some are so stunned that they cannot relax into any sort of agreement with the action, our hearts beat with the electric thrill and Holmes is prepared for that. The best improvisers in the world can get stumped when their scene partner says, No. Playful, but always in control, Holmes seamlessly makes anyone’s reaction a part of moving the story along even if she has to startle you a bit into compliance.
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Remember how you felt watching The Crucible or, maybe even more intensely, The Children’s Hour? Yes, the story is heavy, but we are willingly riveted. One can feel such euphoria when the theatre gods come together making a perfect storm of writing, character development and direction. THE ROLLING STONE punches that button in the brain that wakes such a tempest, pushes my body forward in my seat and finds me committed to see how this all turns out. Intermission is excruciating; I want my friends back and I really want them to be okay.
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Everyone chuckles because here we are in a church basement just enjoying ourselves and, I don’t know about your God, but mine is very pleased indeed with the showing off of Hofmann’s unique talent.
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