Word: script
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Ramakrishnan faces the challenge of speaking all of his lines in Hindi. In the script, Horovitz translates Gupta's speeches into English so the reader will understand his meaning. On stage, however, Horovitz dramatizes Joey and Murph's inability to communicate with their society by creating a language barrier between them and Gupta. Ramakrishnan effectively conveys this barrier--the audience never suspects that he might actually know English...
Director Henry Bial takes a weak and slightly cliched script and turns it into a engaging play. He transforms the dilapidated basement of Cabot into a convincing inner-city bus stop with the addition of cinder blocks and a graffiti-covered public telephone. The small space works to his advantage because it intensifies the actors' claustrophobia. Bial's blocking follows through on this theme--Joey and Murph circle each other as they chant their song and gradually encircle the Indian after stealing his picture...
...main problems in The Indian Wants the Bronx stem from Horovitz's script. Horovitz has the characters screaming just a little too much. Additionally, Horovitz uses weak devices which burden the plot. At one point, Murph inexplicably leaves the stage so that Gupta and Joey can have their big scene. His departure destroys the closed-in atmosphere Bial successfully builds...
Conversely, Leo Cabranes-Grant's production of Fool for Love does not quite live up to the script. The play opens just after Eddie (Charles Marcus) has found his lover, May (Catherine Boyd), after a separation. Sam Shepard shows how their passionate, incestuous relationship ensnares them...
Granted, the issues in Fool for Love do not lend themselves to easy dramatization. But Cabranes-Grant has failed to present the sort of realistic atmosphere that Shepard's script demands. Bial, on the other hand, buoyed by impressive acting, invigorates Horovitz's imperfect script...