by Eugene O'Neill
The Wooster Group
New York City
16 May 1997
Director: Elizabeth LeCompte
Set Designer: Jim Claburgh
Lighting Design: Jennifer Tipton
Lighting Design: Jennifer Tipton
"The pitch is feverish, suggestive of animals aroused by a desire for speed and lust.
The production is heightened with images of masculinity. Although never referred to in the text, a hard-fought boxing match is pictured upstage on a small black-and-white TV screen almost throughout the show."
The production is heightened with images of masculinity. Although never referred to in the text, a hard-fought boxing match is pictured upstage on a small black-and-white TV screen almost throughout the show."
"The voices (all transmitted via microphones) are treated and vocoded at every opportunity - made to sound distant, echoing or shrill with an attention to detail unheard of this side of a radio play. These tricks serve to separate the voices most absolutely from the sumptuously lit bodies on-stage whilst a parallel series of sound-synch gags..."
The Hairy Ape
by Eugene O'Neill
The HippocritesGoodman Theatre (Chicago)
February 2009
Director: Sean Graney
Set Designer: Tom Burch
Costume Designer: Alison Siple
Lighting Designer: Jared Moore
Sound Designer: Miles Polaski
Composer: Kevin O'Donnell
"Yet in this pairing of O’Neill’s best expressionist play and Chicago’s best young expressionist director, it’s unfortunate that the latter didn’t use the lessons he’s learned in smaller spaces when staging the former in the three-story expanse of the Goodman’s Owen Theatre."
"But the melodramatic, bloody climax imposed by director Sean Graney is far less powerful than O'Neill's original ending."
The Adding Machine
by Elmer Rice
A La Jolla Playhouse
Sheila and Hughes Potiker Theater
Sept.-Oct. 2007
Director: Daniel Aukin.
Set Design: Andrew Lieberman
Costumes: Maiko Matsushima
Lighting: Japhy Weideman
Sound Design: Colbert S Davis
"It's also ironic that so much technology -- lights, hydraulics, complex sound effects -- should be applied to an indictment of technology's malignity, though to Aukin's credit, the machine-age satire, which we've seen again and again since "A nous la liberte" and "Modern Times," isn't overdone. Helmer is wise to skew play to a broader portrait of alienated modern man."
"Aukin coaxes over-enunciated and often cartoonish performances out of his actors, and the results are mixed."
MACHINAL
by Sophie Treadwell
Synapse productions Ohio Theatre
2001
Director: Ginevra Bull
Set and Lighting Design: Adrian Jones
Costume Design: Miguel Angel Huidor
Sound Design: Jane Shaw
"...the current revival is not just a fascinating theatrical artifact pulled out of the cobwebby attic of neglected plays. It remains a gripping experience that evokes strong feelings even in our vastly changed society."
"adding machines and ringing telephones may have been muted in Ginevra Bull's staging, ''Machinal'' retains a timeless fascination."
Machinal
by Sophie Treadwell
Brava Theater CenterSan Francisco
2009
Director: Evren Odcikin
"Staged in the round, with seven actors playing all the roles - sometimes from the aisles or front-row seats - it puts Treadwell's characters, staccato dialogue and episodic structure under a microscope."
The Father
By August Strindberg
Royal Dramatic Theatre Stockholm
November 1997
Director: Staffan Valdemar Holm
"To enhance the feel of a female-dominated space, Holm added a spiritualist seance at the beginning of act 2. The room, inhabited exclusively by the women characters, is now bathed in red light, and the trophies are conspicuously absent from the rear wall."
http://muse.jhu.edu/journals/theatre_journal/v050/50.2pr_strindberg.html
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