Blonde brunette redhead review
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And there is a cast size — one — that every theatrical bean counter cannot help but love. Stratford Festival, Studio Theatre, Stratford. But in a theater this size, you also have to concentrate just as hard on their similarities to each other and, more importantly, to the people watching from just across the room. The Rhonda we first meet is meek and quiet, stunned by losing her husband and by her incomprehensible actions. Then she decides to take violent action. Then, unexpectedly, is Michael, a four-and-a-half-year-old boy who tells us about his pet lizard, his sister Ellen, the old woman Mrs. Peacock presents Alex as aloof because her intellectual and emotional sides are in constant battle.
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She tells us that, one day not long ago, she received a call from her husband of some 17 years. Rhonda Russell, a suburban housewife and the redhead of the title, has the first and last monologues. Rather, he's interested in airing varied interpretations of what happened, from different points of view hence all of the characters, each of whom is connected in some different way to the act upon which the play pivots. When they arrive at the mall where the other woman works, Lynette points her out. No doubt someone will create a play about that. Then, unexpectedly, is Michael, a four-and-a-half-year-old boy who tells us about his pet lizard, his sister Ellen, the old woman Mrs. The best feature of his design is a large Plexiglas panel at the back of the stage.
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We owe a debt of thanks to director Geordie Johnson, who saw the play in Melbourne in , for recognizing its worth and bringing it to North America. Robert Hewett's Australian play, now on the boards at Writers' Theatre in Glencoe, has a seductive, gently outre title that seems to promise mild titillation and a crime of the heart. Hewett has decided that he will alter the script to suit the location where the play is mounted. On opening night, Staples was pitching things just a tad too big and broad for that crucial moment of believing and Hanreddy's staging, with its careful sound cues, slow transitions and big visual moments, also seemed designed for a bigger theater. As Lynette and Graham, Peacock delightfully revels in the female and male versions of vulgarity. Beside the themes of fidelity and betrayal, wounding and healing that we might expect from the subject matter, Hewett, who frames his tale a kind of mystery, explores the bigger mystery of chance and necessity and how we accommodate ourselves to them. It is, for sure, a very skilled and carefully staged show.
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