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Far Away

a Atlanta Premiere
CATEGORY :
by Caryl Churchill

COMPANY : 7 Stages [WEBSITE]
VENUE : 7 Stages [WEBSITE]
ID# 1434

SHOWING : October 27, 2005 - November 20, 2005

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PRODUCTION DESCRIPTION

In this Chilling Surreal Drama in three short scenes, Caryl Churchill paints a Dystipia as bleak as anything in Orwell and peoples it with three characters who are as much victimizers as victims.


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REVIEWS

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Dystopia Dysbalance
by Dedalus
Friday, November 18, 2005
4.0
A Long Time Ago, in a Cyberscape Far Far Away ...

Scene 1: Pseudocritic As Child

Lights up on an idyllic scene. A boy sits in his tree house, discussing with his companions, a squirrel and a harlot, the ramifications of over-inflated ego corrupting an already pretentious critical milieu. The harlot deflates the child-writer’s sense of worth with a cruel snicker. The squirrel strokes its nuts.

Scene 2: Pseudocritic As Worker Bee

The writer and the squirrel create word-structures that are breathtaking in their artistry. The structures are twisted by unusual syntax and transmogrified vocabulary into works of pith and drang, unfettered by connection to real world experience or sense. The factory-belt nature of the enterprise deflates the adolescent-writer’s sense of worth with its cost/benefit reductionism and cruel impact. The squirrel strokes its nuts.

Scene 3: Pseudocritic As Sociopath

The Middle-Aged writer sits in its childhood tree haunt, surrounded by the decaying rot of squirrel nut casings and harlot corpses. The oldfart-writer rediscovers its self-worth in the contemplation of technogeek opportunity for masturbatory musings that remain unread and unpublished and unsignificant. Nature, with its surreal dysfunction, no longer has the nuts to stroke. The writer finds solace in its musings about Churchill’s “Far Away”, a Dystopic view too parallel to the writer’s mindset, a Dyspeptic view too parallel to the writer’s stomachset, a Dysfunctional Dysbalance, flowing in the logicstream of a dream on the strength of its ideas and words and surprises and failures, finding commongroundscape with its puppetpeople’s commonplace fears and passions and fears and blindnesses and fears, striking the senses with its designscape rooted in the dreams and nightmares of its audience’s child-fears, falling short in its conclusionscape of nature gone awry (or is it paranoia made lucid?), almost saved in its actorscape of Maia Knispel and Johnell Easter and especially Joanna Daniel who almost brings sense to what is subconscious, meaning to what is vague, realspeak to what is lies. The memory speaks to the writer like the smell of a dying harlot, dim on the edges but pungent on the surface. The writer strokes his ego.

-- Brad Rudy (BKRudy@aol.com)
[POST A COMMENT REGARDING THIS REVIEW]
Exsqueeze me... by line!
I don't mean to be stupid in public, but what are you trying to say here?
Parody by Dedalus
It's actually a feeble attempt at striking a balance between a parody of the surreal nature of the play and some self-deprecating comments on the nature of cause/effect in opinion writing (hopefully mirroring the play's cause/effect artistic disconnect themes).

My hope is, that if you like this sort of writing and can understand the allusions, you'll realize you'll probably enjoy the play.

Sometimes my parodies work, sometimes they fall flat on their face. Thanks for keeping me humble.

Brad


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