Word: scene
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...opening scene of “The Pillowman,” a man, covered to the waist in a rough burlap sack, lies sprawled on a table, while a lone wooden rocking horse rests forgotten in a corner. In this one eerie visual tableau, the play’s thematic juxtaposition of childhood innocence and dark violence is powerfully established. This startling contrast underscores the drama of the entire production. Directed by Ilinca Radulian ’11, and playing at the Loeb Experimental Theater until April 24, “The Pillowman” is a dark and comedic...
...show’s score, though used sparingly, enhances the production’s chilling tone. In Katurian’s confession scene, a spooky, romping rock riff injects the play with electric energy. At other times, the faint, haunting sounds of a children’s choir waft over Katurian narrating his horrid tales or characters recounting painful memories...
Isabel Q. Carey ’12 conveys through her body the psychological destruction of her mind. In the scene where Katurian rescues her from torture, the pair rise and fall together in a dance sequence that captures the heartbreakingly graceful fragility of their limp and beaten bodies. Later, Carey imbues her psychologically stunted character with charming youthful energy, pulling at her toes, stretching her arms, and kicking up her feet in a convincing portrayal of youthful vibrancy. Carey navigates her role with nuance, as she is able to realize the wide-eyed, giggly antics of Michal without verging...
...space of the Loeb Ex itself. The set incorporates a giant translucent box, an even smaller cage imposed in the room where Katurian is imprisoned. The box is meant to represent the room where Michal was tortured as a child. Whether illuminated with sinister green neon during a scene of violence, or adorned along its edges with garlands of somber flowers in moments of quiet mourning, the set piece is a striking and unusually effective accent to the performance...
...series of three magnificently overblown introductions that build up a cast of bombastic, magnetic supporting characters: Mabel, the Major-General, and the Sergeant of Police. Mabel (Bridget P. Haile ’11), Frederic’s love interest and daughter of Major-General Stanley, bursts onto the scene with a warbling, upper-register tour-de-force that—in addition to causing Frederic to visibly swoon—immediately captures Mabel’s simple-hearted desire to impress...