Word: lucieã
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...titular three lives of Lucie (Carolyn W. Holding ’10) are her life with her family, her life after banishment to a lonely cottage, and her afterlife. Moving back and forth through time, the play depicts Lucie??€™s birth in 1900 and childhood, during which she is tormented by her brother Henri (Chris R. Schleicher ’09) for being small and supposedly bringing bad luck to the family because of a birthmark. She grows up lonely, living with her brothers Henri and Edmond (Claudio Sopranzetti) after her parents and oldest brother...
Holding, while fantastic in the main role, seems a slightly strange choice from a physical point of view: Lucie??€™s tiny size is repeatedly referenced, while Holding is one of the tallest members of the cast. While this adds to the unreal and stylized aspects of the play, it also causes some confusion, as the audience constantly forgets about this until it is reminded of the character’s size again. That fact aside, her performance is riveting. She plays Lucie throughout her 67-year life with only a few personality changes to account for the transition...
...During Lucie??€™s life, Holding stomps around, delivering most of her lines in a low-pitched shout that fades to a growl, one which seems occasionally excessive until the play’s final scenes. When Lucie is dead, she moves gracefully. Her hair, previously bound in a bandana, is set free, and her voice is soft and happy. This contrast makes all the preceding acting choices understandable and adds to the play’s elegiac feel...
Movement is more important to this play than to most, not only due to a number of dance interludes, which are dreamlike and performed mostly to words and not music. Often, even during the more realistic scenes, the actors move in a dance-like way, contrasting with Lucie??€™s stomping, heavy steps. After her death, there is an incredible, wordless scene that consists of Lucie and Jean moving into different poses as he dreams of her, interspersed with fades to black...
...April 11-14 at the Loeb Mainstage. MULTIMEDIA, WITH SMELLS The play follows the life of a poor French countrywoman through the first half of the 20th century, from birth to the afterlife. Lucie, a social outcast, searches for love and acceptance. Although departing from the traditional emphasis on Lucie??€™s physique, this production nonetheless is very concerned with physicality through movement. Besides a mobile set—complete with live statues, turning windows, and flying trees—the actors perpetually move to a complex choreography. “We’re incorporating...