What inspires someone to spend $200,000 (or francs) on a piece of art, especially one that to others looks like a plain white canvas with some marks in a slightly different shade of white? This question is at the crux of the play 'Art' by French playwright Yasmina Reza, most famous for the play God of Carnage (which played at the Guthrie 12 years ago, and a few other theaters since). Both plays won the Tony, and both plays are of the talky variety (my favorite kind). Not much happens and the play is pretty much just people sitting around a room talking. But that talking is some pretty deep and intense conversation and confrontation, in this case ostensibly about the nature of art, but in reality more about the nature of friendship.* The Guthrie's new production features a fantastic trio of actors (two of them local favorites), crisp and clear direction, and a stunning "modern" design. This is often a quiet time in #TCTheater, after the holiday show rush and before things get moving again in mid to late January, but thankfully we have some great 'Art' to fill in that gap. See it in the Guthrie's proscenium theater now through January 28.
Showing posts with label Lisa Portes. Show all posts
Showing posts with label Lisa Portes. Show all posts
Friday, December 29, 2023
Sunday, October 21, 2018
"I Come from Arizona" at the Children's Theatre Company
Two world premiere new works of theater are premiering at the Children's Theatre Company this fall (which is actually not that unusual for this company that focuses on new work). The main stage production of Last Stop on Market Street closed today (to make way for everyone's favorite furry green grump, another CTC original), but downstairs on the smaller Cargill stage, I Come from Arizona continues through the end of November. This very timely play (adapted by playwright Carolos Murillo from his play Augusta and Noble) speaks directly to the issues of the day, issues that children in the audience may be experiencing first-hand. Gabi is the child of undocumented immigrants, and has far more worries than any 14-year-old should. This production makes what for some of us may be abstract immigration policy ideas seem very real, and very human.
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