Word: scripting
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...A.R.T.'s production of the play is impeccable. David Wheeler, who directed the debut of DeLillo's previous the-atrical outing, The Day Room (also at the A.R.T. in 1986), has taken a few minor liberties from the published script which pay off well. Complementing Eigsti's set design, lighting designer John Ambrosone and sound designer Christopher Walker have made a special effort to bring the audience into the production: spotlights search faces and the roaring sound of wind disorients the audience. Simple passivity is difficult for the viewer...
Regardless of cast and set, Valparaiso is clearly and firmly Don DeLillo's play. Despite DeLillo's published statements that the play is much looser than his novels, the script is incredibly tight. Here, DeLillo's inexperience as a playwright shines through: as several reviews have evidenced, the play is too densely constructed for much of the audience to understand in a single viewing. DeLillo's brilliant use of words is wasted by the speed at which they are spoken. Repeated viewings, however, bring to light connective strands of the plot; the script is a sheer pleasure to read...
...Malick makes his return to the industry he left 20 years ago with this WWII drama which not only is thunderously dull but also completely hollow. Instead of giving us involving drama, Malick shellshocks us with a 3-hour, superficial Discovery Channel special. But the big disappointment is the script--Malick's dialogue is not only empty but just plain silly. Visually stunning, of course, but a resounding failure...
...have rarely seen an audience at Harvard respond so favorably to an undergraduate production as to The Jerusalem Disease, produced in the Loeb Experimental Theater during reading period. Harvard actors don't often come out for a second curtain call, even for brilliant acting and a stellar script...
This energy owes much to the script, whichwisely--in the best teen soap-operatradition--does not dwell for too long on anyparticular mini-conflict but also to the actors,who as a group were much better with movement andmelodramatic expressions of emotion than withsubtle feeling and delivery. Matt MacInnis '02(playing Jason Rosner) is a very good andconvincing screamer; Henley-Cohn is a fine stagepresence, and has a considerable amount of(misplaced, in this play) sex appeal; and JayChaffin '00 (as the rebellious Elliot Dachs, butreminiscent of nobody more than Seinfeld's George)has a very good sense of comic...