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...lead role (the three males play more static supporting characters, filling roles as “anyman”), but each has her own personality—a strain of Anne’s personality—that is carried along with her physical representation throughout the show...
Napier is sexy but painfully conflicted internally; the basic vulnerability she established at the very beginning lingers throughout the show. As the voiceless artist, writhing in blood, chocolate, and saliva during scene 11 (“Untitled (100 Words)”), her body contorts, suggesting an inner beast yearning to escape. As Anne, moments of anger cause her eyes to glaze over and her mouth to froth. Such strong displays of emotion capitalize on the fuzzy space between internal and external theatrical reality...
Similarly, the three other female characters play roles consistent in their appearances as Anne throughout the show. Ella Gibson ’13 pierces the show with a stern cool that permeates her part as the pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg...
...Strangely,” as Sterle shouts through the megaphone again in the aptly named scene 12 (“Strangely!”), the lights dim on Napier at the close of the show, leaving her sprawled on the floor in the dark as in the first scenario. Now, however, we have at least some understanding as to the immediate cause. It’s a full circle orchestrated by Stone that capitalizes on the necessarily absent center of a continuous loop, and though the action has come to a close, its ideas continue to linger—unlike...
...There is not much convincing to do once you show someone what [they have] done,” Ru said...