![]() If you’ve had a job whose paycheck you appreciated but whose particulars you could take or leave, you know this kind of scene. The setting is a dowdily crowded break room at an automotive stamping plant in Detroit. Fuelled on the diesel of ardent chitchat, this play moves and purrs and swerves and does its humane thing, teaching its audience how to keep up as it goes. Everyday complaints-those absolutely necessary companions to repetitive work-grasp toward, and often reach, an earthy philosophy. ![]() ![]() Side comments grow into rafts of rhetoric. As Morisseau’s characters think, they speak in eloquent earfuls, and, in speaking, they push themselves and one another toward crises and discoveries that can be resolved only by yet more talk. Friedman), stakes out ground that’s viable only in the theatre: the piece offers hope-and a kind of proof-that conversation carried out seriously is its own undeniable action. ![]() Bristling and jumping and speeding forward with skillful talk, “Skeleton Crew,” the new play by Dominique Morisseau, directed by Ruben Santiago-Hudson for Manhattan Theatre Club (on Broadway, at the Samuel J. ![]()
0 Comments
Leave a Reply. |