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...Black Watch, a galvanizing, free-form stage piece from the National Theatre of Scotland (it debuted in 2006 at the Edinburgh Fringe Festival and has toured Britain, Australia and three U.S. cities), is the highlight of a remarkable recent surge of plays about the Iraq war. Hollywood, traditionally the go-to vehicle for telling war stories, had its own flurry of interest but after a few star-studded box-office underperformers (In the Valley of Elah, Redacted and, most recently, Body of Lies) has largely retreated to its foxhole. Theater has stepped into the breach, using an impressive arsenal...
...Black Watch is a subtler and more powerful picture of men in war. It too is a docuplay, written by Gregory Burke, from interviews with members of the Black Watch regiment--a storied Scottish fighting unit that dates back to the early 1700s. But what could have been dry and didactic is transformed by a host of inventive, kinetic environmental-theater devices: strobe-and-sound effects to simulate the shock of battle, video screens, interludes of traditional Scottish military songs, evocatively choreographed group movement. In one sequence, soldiers silently pass letters from home to one another, reading and weaving about...
...Black Watch soldiers don't hate war; they hate the war they've been thrust into, in which their traditions mean nothing, the enemy can't be understood, and--the final insult and the cause of much controversy in Scotland--their unit is broken up. "It takes 300 years to build an army that's admired and respected around the world," an officer says. "But it only takes two years pissing about in the desert in the biggest Western foreign policy disaster ever to f___ it up completely." The result, after an hour and 50 minutes with these proud, profane...
...tragedy that deals with the consequences arising from humanity’s underlying intolerance and prejudice, Albee’s success stems from his ability to exaggerate the dramatic quality to comic proportions. To achieve that paradoxical effect of hilarity juxtaposed against a morbid backdrop, Albee utilized wordplay, black humor, and even slapstick to counter the mounting tension between the characters as the action progresses to its catastrophic climax. It was precisely this dichotomy that drew director Davida Fernandez-Barkan ’11 to “The Goat...
When “The Sopranos” ended with its infamous black screen in June of last year, many of the show’s dedicated fans were furious. People had fallen in love with emotionally complicated crime boss Tony Soprano and had tuned in episode after episode, only to have the show come to an unceremonious end less than an hour after Tony’s intricate web of conflict had finally unraveled. I sympathize with those who felt cheated, but I’ve grown to realize that “Sopranos” fans were...