Post by aspieandy on Aug 25, 2024 9:37:47 GMT
This was a little surprising, in a good way. Can’t remember another occasion when I might have thought that about products on the conveyor belt of US, navel-staring race plays.
There are lots of ways into this and lots of routes through it. For me, there is a basic conceit that doesn’t work – when I was in the game it was pretty hard to aviod an expection for you to be ‘pretend rapist’ or ‘pretend ab/user’ or ‘pretend imprisoner' (could get a bit tiresome). In the end you have to exclude politics, stay with the fantasy thing - which is the opposite of the premise in this play.
But the USA has a very distinct history, as well as a creative culture that is more monetised than elsewhere – fwiw, I really liked that the askew basis was an angle the two councillors were working/writing up (which, for me, reflects most of the history of US feminist writing for fully 50 years): write a book, promote self, build market angle, brand, status, book tour/lecture circuit, repeat, manufacture career. Many tried.
Also a success, a voice from beyond the culture - and the history; the device of a middle-class Brit, clashing in so many ways.
Maybe there was a moment in time for this play. I did wonder if some of the language already felt a little dated; attracting wry smiles or stifled derision.
Others will find their way in and their way through. Possibly more value, even insights.
I agree that the writer lost many of us towards the end of the long scene though the ending was strong. Overall, if you buy in, an imaginative piece. If not, it’s a long two hours in hand-wringing, hair-shirted USA.
There are lots of ways into this and lots of routes through it. For me, there is a basic conceit that doesn’t work – when I was in the game it was pretty hard to aviod an expection for you to be ‘pretend rapist’ or ‘pretend ab/user’ or ‘pretend imprisoner' (could get a bit tiresome). In the end you have to exclude politics, stay with the fantasy thing - which is the opposite of the premise in this play.
But the USA has a very distinct history, as well as a creative culture that is more monetised than elsewhere – fwiw, I really liked that the askew basis was an angle the two councillors were working/writing up (which, for me, reflects most of the history of US feminist writing for fully 50 years): write a book, promote self, build market angle, brand, status, book tour/lecture circuit, repeat, manufacture career. Many tried.
Also a success, a voice from beyond the culture - and the history; the device of a middle-class Brit, clashing in so many ways.
Maybe there was a moment in time for this play. I did wonder if some of the language already felt a little dated; attracting wry smiles or stifled derision.
Others will find their way in and their way through. Possibly more value, even insights.
I agree that the writer lost many of us towards the end of the long scene though the ending was strong. Overall, if you buy in, an imaginative piece. If not, it’s a long two hours in hand-wringing, hair-shirted USA.
