Word: evening
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Dates: during 2000-2000
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...turns to words to replace musical notes. He unrelentingly assaults the ear with precise metaphors, dissecting every aspect of his dead sister: her body, her dress and her words. He floods every part of his life with pregnant description. The flow does not stop even when his father, in a post-accident moment of rage, sticks a gun in the Son's mouth. The only things immune to his touch are the names of the players themselves: the whole time it is only Son, Father, Mother and Daughter. Family members are the rocks upon which the Son's fragile shell...
...never lapses into an inchoate stream, his monologue is a form of self-flagellation reminiscent of The Sound and the Fury's Jason Compson. In Nocturne the monologue is lyrical, moving with the sheer inevitability of a musical composition. Dallas Roberts' Son makes each word into a plaintive wail. Even when the character lapses into humor (at one point even mimicking stand up comedy), the humor's forced nature hints at more shocks to come. The subject matter is graphic and serious business...
...second half of the play is more conventional and elaborates on the Son's affliction. His mental tension becomes sexual impotence, as revealed in a sensitively executed nude scene. At times he has to endure pains even Candide never had to face, well beyond the point where it becomes implausible. And the fact remains that while nudity has shock value, the Son's angst shows him to be figuratively exposed throughout the whole first half anyway...
Things change rapidly. Two weeks ago, they knocked on each other's doors; now they don't even do that...
...everyone worried about settling in--Oliver A. Lennox '04, for instance, says he knew he'd fit in right away. But even those who fretted before say that they already feel more comfortable than they'd ever imagined and that they don't miss their families as much anymore...