Howard Scott is making his directorial debut with Arsenic. After vacationing on Washington Island since , Howard and his wife moved here in the fall of His participation in Island Players has been a continuation of his longtime involvement with an amateur theater group in Philadelphia, his former home.
The playwright really made it work. Advance tickets will go on sale on Saturday, February 4, two weeks ahead of time. They will be available at the Rec Center and the Red Cup.
For further information, contact Joyce Morehouse, producer, at or at islandplayers washingtonisle. Harper were so indistinguishable from each other, it might have served the storytelling better to cast a different actor for each role. A play in two acts, the first whizzed by while the second felt needlessly long, with multiple false endings that gets a little wearing. Some old relics of theater are necessary to restage as new generations of theater-goers fill the seats, but perhaps not all of them.
Editor-in-Chief for TheaterFansManila. Writer by trade and temperament. A self-professed art appreciator, she'll watch anything once.
Find her on Twitter and LinkedIn. Indeed, one of the cleverest things that this very self-referential script does is collapse the character of the theater critic with the actual spectators, separating him from the farce and reserving his judgement as legitimate.
Mortimer has never been in a position to judge his own family, before—and now his eyes are opening to the macabre production that has, unbeknownst, played around him for his whole life. And with this, the movie turns from a screwball romantic comedy about a secretly-reformed chauvinist who falls in love with a girl from his own neighborhood, into a high-stakes farce about a man who discovers that his loving family and the idyllic block where he was raised are not nearly as charming and innocent as they once seemed.
Their childhood was spent with Jonathan tormenting Mortimer, and Mortimer seems to have blocked out the darker aspects of this fraternal bullying. The trick, if you will, underneath the treat. This neighborhood, which we now refer to as DUMBO just north of Brooklyn Heights , was an industrial neighborhood in the s, and the houses that did stand there were row houses, townhomes, and small apartment buildings.
Quaint, sure, but decidedly urban. Those interested in taking a peek back in time should check out the s reconstruction of NYC done by software engineer Julian Boilen, using WPA and Tax department photos from that era. In this film, the denizens of Brooklyn are not immigrants, not working-class. The two antique, spinster Aunts, with their homicidal poisons, are witchlike in their characterizations, but with their ancestry, they are associated with Puritanical Plymouth rather than the more obviously Halloween-amenable Puritanical Salem, switching a site of proliferation rather than termination.
Cousin Teddy acts as a living seance for the ghost of Teddy Roosevelt, one of the loudest characters in the pantheon of so-called American heroes, whose own larger-than-life-ish-ness masks mass murder done in the name of American expansion. The Brewsters are a twisted, perverted clan, whose bloodthirst is inbred to its ancientness, its American-ness.
Their heaping small-town aesthetic seems picturesque and delightful until it it is revealed that it goes part-and-parcel with a history of killing. The Brewster family is as old as America, itself, and the Brewsters and America kill inconvenient parties and bury their skeletons interchangeably. And in a small way, the image of mythic, quaint, small-town America that literally provides this film with its most towering set-piece gives way to the actual composition of Brooklyn.
0コメント