I lack the expertise to offer a useful review. All I know is what I like and I like this production very much.
You're a nice guy, Julian.
However, the reviewer and I still disagree on whether the chrononauts controlled the behavior of the three women or the three women, through their respective desires, controlled the the actions of the chrononauts.
I wonder if Bryon Woods opinion of those extras would have been different of the women had arrived at the island on a stylized steamship?
Brian, I'll take joint responsibility with my dumb-ass phone for mistakenly believing one of my posts had disappeared. While I'm at it, I'll give 100% of the blame to my phone for omitting "not" between "it's" and "missing" in my third post.
FWIW, my biting sarcasm, as demonstrated in my first post, has met the ad hominem threshold for other message board moderators I have encountered.
First, I doubt you have seen the contract signed by the producer of this play. I know I haven't. Therefore, I'm not going to debate whether the producers had the "right" to do what they did or not.
Second, your interpretation of the effect of chrononauts on the "women's agency" in particular and the play in total could not be more different from mine if we had gotten together and plotted to take points of view that were completely at odds. For me, the chrononauts provided a means of providing background as the play moved itself from one scene to another and a means of providing "a less than high-tech simulation of the terrains they [the women] discover" as well as other staging. Nothing the chrononauts did suggested to me that the the women were "pawns" or "lab rats." Their experiences were a result of free choices they each made, not imposed upon them by some outside agency (other than the playwright himself).
Also, a quick google search leading to commentaries on other productions made it clear to me that it is not uncommon for tasks handled here by the chrononauts to be done in other ways that are not in the script. Unfortunately, I haven't seen the script so I will not try to provide specific examples. (OK, I'll debate the producers' rights a little bit.)
Another more open way of looking at things might have allowed you to better enjoy this production.
Disclosure: I (like Julie Ritterskamp) am a friend of the director and I am an acquaintance of others associated with the production. But, I am also an independent thinker. My opinions about this production of On The Verge are driven by what I saw last Saturday night, not who was involved in delivering it.
Semi-sorry about the sarcasm/irony of my first post mostly because it detracts from my effort to now make serious points about my differences of opinion with the reviewer.
So, now it's missing.
I thought my now missing comment was pretty good, more ironic than the sarcasm I admitted to. My main point was I disagree (quite sharply, truth be told) with Byron Woods' opinion of the value of the chrononauts [who I was given to believe are akin to stagehands in a more conventional (and mundane) production].
Huh? "... the women APPEAR to be forging through ... a simulation of the terrains they discover ..." Wow! How did you ever figure that out? How perceptive of you. Are you perceptive enough to recognize sarcasm?
Make sure you're signed up so we can inbox you the latest.
Login to choose your subscriptions!
Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation