Things that help in the strange ecology of the contemporary serious drama: rolling premieres, black box theaters, foundations, and residuals. But in consequence the reviewer may have to go guerilla. As seen with Detroit, The Train Driver, and Bullet for Adolf.
Archive for April 2013
The thing about really great farces is that once they wind up, they become like three-ring circuses, with physical comedy (pratfalls and double-takes), character-based comedy, and the sheer geometry of exits from impossible situations being closed off, one by one, contributing to constant hilarity and nearly non-stop laughter. Of course, even in the case of the most beautifully-constructed farces, this requires a deft directorial touch, because the whole thing is always a soufflé of improbable coincidence, of characters missing unmissable cues, of perfectly-timed entrances and exits, of unbelievable ingenuity preventing inevitable disaster, of insults taken where none were intended, of passes made and, against all probability, not rebuffed. And keeping soufflés from falling is hard work.
Hmm. I sense a diplomatic silence. One does not simply drop out at the top of a glamorous game and become an anonymous functionary in the halls of justice, marriage or not.