WEEK THREE
As I write this YANKEE TAVERN and FIFTY WORDS are both performing onstage. We have begun our third week at the FESTIVAL. I am encouraged by our attendance reports and I am hopeful that our attendance numbers will continue to grow as we enter into the final two weeks. Please tell your friends that there are good seats available at all of our remaining repertory performances.
I am looking forward to our post-show discussion of FIFTY WORDS…following this evenings performance. We will have our final post-show discussion on Thursday evening after THE HISTORY OF LIGHT. This is such a great opportunity to hear feedback and questions from our patrons. I am very interested in having a conversation with you on this blog. Let me know your reactions to our season. Feel free to ask me questions and make comments. For example…what do you think the “main idea” is in Beau Willimon’s FARRAGUT NORTH? Is this simply a play about politics? Does FARRAGUT NORTH have a “universal truth” that goes beyond the story of the play? Talk to me about your understanding of the word “hubris”… What is the “main idea” behind Steven Dietz’s play YANKEE TAVERN? Why does Steven begin his play with a lie? What do you take away from witnessing YANKEE TAVERN? What do you believe? Who do you trust? Or is this some urban myth?
Lets talk…
Ed Herendeen
We saw History of Light yesterday afternoon. What a spot-on characterization contrasting how two generations view interracial relationships! I can’t think of a better way to illustrate the difference between modernism and postmodernism than to show this play. One is tempted to view the current generation as post-racial, but the failure of these “soul mates” to get together raises doubts. Layered upon this is the beautiful interweaving of the stories of the two generations. And upon this, the exquisite performance of that gifted young actress, whose distinctive personality makes the story that much more compelling.
We saw the evening performance of Farragut North. I have a problem with the basic premise that these two senior members of the campaign cannot keep a secret — at all, not in the slightest — but 15,000 ordinary citizens can be persuaded to lie to pollsters and keep it secret. Especially 15,000 Democrats, who are characterized, correctly in my view, as being more idealistic and less prone to corruption. That leap of theatrical imagination notwithstanding, this was a wonderful production, showing that the identity of winners and losers may have little to do with the issues that draw us passionately into politics. Sure, it’s an exaggeration, and I have not emerged as a cynic, but I’m sure there’s a kernel of truth here. It’s an interesting contemporary twist on the Shakespearean tragedy.
We saw Ed absolutely everywhere. (We were the ones staring at the map of Manhattan in the new building.) His passion and involvement have made this a great festival.