![]() Linda likewise blasts through the door like a gust of bitter wind - nobody enters calmly at this bar - dressed in hooker-chic attire, blinding lipstick, meretricious makeup. She's forever in the midst of an existential crisis, and she can't go anywhere else because nobody else gets her. On this night - an unbroken, 90-minute one-act - Abergel's Denise seems to overtake the room in a dervish, like a junkie in need of a fix, but that's just the way she is. ![]() It's in this familiar milieu that two forces of nature burst forth, two very '80s women with thin waistlines, short tempers, big hair, and bigger mouths: Denise Savage (Shira Abergel) and Linda Rotunda (Valentina Izarra). Those lights will eventually have a narrative purpose, but I liked them better when they didn't - when they evoked the laziness of the bar owners, who let the lights hang there through January and February, and then through spring and summer, and then through fall, which is only natural, because the holidays are just around the corner again then, right? On stage right sits a withering plant that probably hasn't bloomed since the Carter administration, and on stage left, unlit Christmas lights snake atop the bar, even though the action takes place in autumn. It's not a place of entertainment - the jukebox is out for repairs, and there's an unseen pool table that is always available - so much as a pit stop on the route to oblivion: a sorrow-drowning destination for the lonely, the maligned, the jilted.Īcevedo includes a number of insightful little details, including a garish Heineken sign, pool cues racked up on the wall, and business cards tacked onto a corkboard. ![]() As interpreted by the Alliance Theatre Lab's set designer, Adalberto Acevedo, we've all seen this bar before, usually when we've had nowhere else to go. The setting of John Patrick Shanley's Savage in Limbo is a seedy bar in the Bronx, circa 1986. ![]()
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