Word: leah
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Compared to what is to come, however, this opening sequence is practicallynormal. Moments into the performance Margaret C. Kerr ’13, playing Leah, interrupts the play-within-a-play with an abrupt “Stop! Do my play!” before handing the manager a script—successfully hijacking the evening...
Thus begins the main event, a one-act play by the character Leah that offers an absurdist, fractured reinterpretation of her own past, present, and future. “The show will reinforce theater as a locus where reality and dream meet. In that realm, absurd talk is the wisest decision,” claims the synopsis. The play, which ran from March 25 to 27 in the Loeb Experimental Theater, takes that mission statement to heart...
Though that “absurd talk” may obscure any deeper meaning, the experience alone is bizarrely engaging. Characters merge and switch roles, slip without warning into gaudily staged dance routines, and ramble about six-foot moles and eating paper as the story follows Leah from traumatic childhood music lessons to the death of her husband, making all sorts of incomprehensible pit stops along...
...they offer a touch of self-conscious humor that avoids any potential frustration with the production’s opaqueness. Maupassant (Philip Y. Gingerich ’13), installed among the audience members, occasionally cheers on, shouts at, and has conversations with those onstage, while the theater manager, as Leah sobs over the body of her dead husband, exclaims exasperatedly, “Shut up! Who cares...
...mediocrity,” she says. “The idea was that moles have this underground life... although they don’t have a prescriptive path, they always know their way around, and this is a metaphor for people who choose the easy trajectory in life. Leah does not want to follow that path. She wants to do what she can do best, and that’s not easy...