Learning to live

By BILL RODRIGUEZ  |  April 27, 2010

Thanks principally to Lippincott’s compelling Fanny, this is a strong production. The weak moments are minor, such as the example of bad acting that Fanny’s competence contrasts, with a Romeo who interrupts the naturalism of Unbound by being awful with comical exaggeration. As for the play itself, perhaps another moment could have been spent establishing Fanny’s 23-year-old naïveté. She does ask her new admirer and soon husband whether he’s a racist but doesn’t pursue the matter when he says his family is in “agriculture.” Is the woman in denial?

As Fanny Kemble wrote, “I suppose we all must decide at what point we choose to be made uncomfortable.” Unbound makes that point emphatically.

< prev  1  |  2  | 
  Topics: Theater , Entertainment, Entertainment, Nora Eschenheimer,  More more >
| More


Most Popular
ARTICLES BY BILL RODRIGUEZ
Share this entry with Delicious
  •   BEE'S THAI CUISINE  |  July 16, 2014
    On the radar of Providence foodies, the ding of Bee’s Thai Cuisine has grown increasingly louder and brighter.
  •   THE FINAL COUNTDOWN  |  July 16, 2014
    Strap in for a fast-paced adaptation of Agatha Christie's classic mystery.
  •   A SO-SO SATIRE  |  July 02, 2014
    There’s this poor country whose medium of exchange is goats (actually, promises of parts of a goat — promissory goats).
  •   PROFOUNDLY SILLY  |  June 25, 2014
    It’s been more than a half-century since Eugène Ionesco’s first play, The Bald Soprano , was written in a burst of splenetic post-WWII exasperation over the ludicrous behavior of his species.
  •   TRIUMPH AND TRAGEDY  |  June 18, 2014
    It doesn’t hurt that Angels In America is, in several regards, the greatest American play ever written.

 See all articles by: BILL RODRIGUEZ