Word: lulu
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...almost painfully innocent young girl, who is prone to corruption and seductive behavior that seems almost accidental. In fact, she makes childishly brash proclamations of her luxurious life but doesn’t seem to be aware of their sexually provocative insinuations. As such a dangerously tantalizing girl, Lulu entrenches herself in a downward spiral of intrigue, betrayal, and passion that always seems to leave her lovers dead...
...whether her lovers really just care for the purity they have constructed for her. Actresses Julia C.W. Chan ’05, Rebecca J. Levy ’06, Catherine P. Walleck ’06, and Elizabeth A. McLeod ’08—who each play Lulu in her different stages of maturity—do a particularly good job of portraying this ambiguity of character. This multiple-actress-to-play-a-single-character ploy allows for a greater look at Lulu’s ambiguity, and audiences can never quite settle into a complete understanding...
...drifting from lover to lover, Lulu seems to lose certain markers of her individuality, experiencing a loss of identity that is amplified by the fact that she adopts whatever name her lovers call her. Whether she’s known as “Popsie” or “Katya,” Lulu is whatever her lovers want her to be; therefore, even if she is not a paragon of innocence, her lovers will choose to see Lulu that way. The standards they set for their perfectly virginal Lulu are impossible to meet, and thus, their relationships...
...Lulu’s lovers, Jess R. Burkle ’06 adds a more sophisticated but equally enjoyable comic dimension to the play with his keen sarcasm and biting wit. Alwa’s role soon grows more serious, however, along with the overall tone of the play. Lulu is implicated in the murder of one of her husbands. As she subsequently attempts to cover up her guilt with offers of sex, which she markets by exploiting her innocent appearance, Lulu’s core of true innocence begins to scratch away...
...lovers’ conceptions of the ideal Lulu are perhaps further hopeless because of the role that art plays in the drama. Lulu’s lovers are artists and tend to instinctively view Lulu as yet another work of art, both perfect and controllable. But Lulu is neither of these ideals—a point emphasized in this HRDC adaptation...