"In the Continuum" - Spirit and Soul - Personal Impact - HIV
While MFA students in acting at NYU, Nikkole Salter and Danai Gurira were independently composing monologues addressing: AIDS. One professor suggested that the individual efforts might be combined. The result: startling, poignant theater: "In the Continuum." The world premiere at Primary Stages in New York and the subsequent run at Perry Street Theatre led to stops in various cities. Now, New Haven's Yale Repertory wisely presents this searing, spirited play performed by the women who wrote the piece through Feb. 10.
Abigail (Gurira) reads the news for Zimbabwe Broadcasting Corporation and her career is ascending. Upset about her marriage, she anticipates that when her second child is born, the relationship with her husband will improve. Instead, she is HIV-positive and this, she realizes, will abruptly end the marriage.
Nia (Salter), from Los Angeles, is involved with a wannabe National Basketball Association star. She believes that Darnell, still in high school, will find his promised land within the NBA. But, Nia has AIDS. The dream will be forever dashed.
The women, as primary characters, never exchange dialogue with one another. Yet Salter will also play her boyfriend's mother; a social worker, and others. Gurira, too, takes on multiple roles such as a witch doctor.
Director Robert O'Hara opens the production as the women, whose energy is palpable, move in circles as they explain, implore, and fully engage the audience. They are intense, emotionally available people whose lives have been immediately and absolutely disrupted. "In the Continuum" permits them to remote, to fully emote.....
Sarah Hillard costumes the two women in black. Each, however, utilizes fabric of color to enhance, transform, and alter physical appearance. Peter R. Feuchtwanger essentially clears the stage and allows the blinding drama (which includes moments of humor) to reach crescendo after crescendo.
"In the Continuum" flashes before your eyes acutely and with immediate tension. Abigail and Nia do not meet but personify parallel figures. That these women, playwrights and performers, feel the import of their passionate words is evidenced through the totality of performance. Wonder about the theory that voice is inclusive of the entire human body? Check out this play.
---End of Review Section---
Personal Blog: One wishes to run up on the stage and hug each of these women. Those of us who crave live theater are so, so thankful. Think about it. Students receive an assignment and begin to write. Women from different global regions, each draws focus upon AIDS. And, to be truthful, we've many times watched films and plays, read books about the epidemic. I cherish those moments when I saw "Angels" and "Rent" early on during NYC runs. AIDS again?
Get real. The play is intimate, revealing, wrenching. Not only that. The performers are electric and the direction, essential, is both necessary and precise. O'Hara is melding two one-women shows. Not easy.
I was gratified to have the opportunity, as an active theater lover, to attend. You will, too.
www.yalerep.org; (203) 432-1234.
Abigail (Gurira) reads the news for Zimbabwe Broadcasting Corporation and her career is ascending. Upset about her marriage, she anticipates that when her second child is born, the relationship with her husband will improve. Instead, she is HIV-positive and this, she realizes, will abruptly end the marriage.
Nia (Salter), from Los Angeles, is involved with a wannabe National Basketball Association star. She believes that Darnell, still in high school, will find his promised land within the NBA. But, Nia has AIDS. The dream will be forever dashed.
The women, as primary characters, never exchange dialogue with one another. Yet Salter will also play her boyfriend's mother; a social worker, and others. Gurira, too, takes on multiple roles such as a witch doctor.
Director Robert O'Hara opens the production as the women, whose energy is palpable, move in circles as they explain, implore, and fully engage the audience. They are intense, emotionally available people whose lives have been immediately and absolutely disrupted. "In the Continuum" permits them to remote, to fully emote.....
Sarah Hillard costumes the two women in black. Each, however, utilizes fabric of color to enhance, transform, and alter physical appearance. Peter R. Feuchtwanger essentially clears the stage and allows the blinding drama (which includes moments of humor) to reach crescendo after crescendo.
"In the Continuum" flashes before your eyes acutely and with immediate tension. Abigail and Nia do not meet but personify parallel figures. That these women, playwrights and performers, feel the import of their passionate words is evidenced through the totality of performance. Wonder about the theory that voice is inclusive of the entire human body? Check out this play.
---End of Review Section---
Personal Blog: One wishes to run up on the stage and hug each of these women. Those of us who crave live theater are so, so thankful. Think about it. Students receive an assignment and begin to write. Women from different global regions, each draws focus upon AIDS. And, to be truthful, we've many times watched films and plays, read books about the epidemic. I cherish those moments when I saw "Angels" and "Rent" early on during NYC runs. AIDS again?
Get real. The play is intimate, revealing, wrenching. Not only that. The performers are electric and the direction, essential, is both necessary and precise. O'Hara is melding two one-women shows. Not easy.
I was gratified to have the opportunity, as an active theater lover, to attend. You will, too.
www.yalerep.org; (203) 432-1234.
posted by Fred Sokol at 10:01 AM
0 Comments:
Post a Comment
<< Home