Word: stoning
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...downward across the space to nearly cut the room diagonally. The audience sits along either side in small bleacher clusters, the noticeably comfortable space between their seats an appreciated—and probably intentional—detail. After all, it could not have been lost on director Matthew C. Stone ’11 that British playwright Martin Crimp’s “Attempts on Her Life” is not a play that makes anyone feel like being close...
...initial discomfort caused and expressed by Napier cracks the divide between the reality of the audience’s pre-show chatterings and that of the play’s. Stone ties a knot around this introductory tension between voyeuristic guilt and pleasure. He engages the audience in his challenge to untangle the thread which he proceeds to reveal in glimpses throughout the show’s “17 Scenarios for Theatre,” the play’s subtitle. However, this strand proves to be so complexly woven through and around itself that its fragments suggest...
...appropriately” composed cast, though, long narrative passages (indicated as belonging to a single speaker in the script) can be manipulated and divided at the director’s discretion, just as all non-lingual elements must be. It’s a daunting challenge, but one that Stone accepts in his third directorial endeavor to wonderfully creative and moving effect. Since its first performance in 1997 at the Royal Court Theatre, “Attempts on Her Life” has left audiences feeling disoriented; who is this Anne—or Anny or Anushka—that...
...aspects of this primarily bare play, Stone has couched the palpable void in details that are brutally suited to the mood of the play. Props are minimal—table, black cube, coffee, or scotch. Spotlights focus on specific narrators. The technological longing, imbued in tracks by Panda Bear, Thom Yorke (with and without Radiohead), capture the melting, quiet terror of a modern generation; videos unveil landscapes and devastation upon the backdrop during “Faith in Ourselves,” and then, scenes later, the sleek curves of a new model vehicle...
...lights dim on Napier at the close of the show, leaving her sprawled on the floor in the dark as in the first scenario. Now, however, we have at least some understanding as to the immediate cause. It’s a full circle orchestrated by Stone that capitalizes on the necessarily absent center of a continuous loop, and though the action has come to a close, its ideas continue to linger—unlike the show itself, which closes...