You don't get a hint of it until you've returned the volley about three or four times. The mainstream media counts on the masses never returning what's served up. Journalism today has become a caricature not unlike what Robert Lynd describes by saying "Research without an actively selective point of view is like the ditty bag of an idiot, filled with bits of pebbles, straw, feathers and other random hoardings. Somoza's business partners were U.
So what in the world was Lee Blessing, award-winning author of "A Walk in the Woods" and head of Rutgers University's playwriting program, thinking when he used this tragic event as the basis for his wicked and wacky satire "Whores?
To call it a guilty pleasure doesn't even begin to address it; think about it too much, and you can almost picture the laff-riot gags being penned with the blood of innocents.
Then again, guilt doesn't play a huge part in this new, improved, percent funnier version of "Whores," the play now in its statewide premiere run at New Jersey Repertory Company's Lumia Theatre in Long Branch.
The central character of the deposed Central American general -- a man known here only as Raoul Raoul Raoul de Raoul -- is a proud yet pathetic sort whose shoulders have never sagged from the weight of guilt; only the gilt-edged epaulets on the ridiculous dress uniform he continues to sport in his South Florida exile.
The action, set during the general's stateside trial for atrocities, plays out inside Raoul's head, a bizarre place that looks remarkably like a standard-issue motel room Jo Winiarski's appropriately functional set design melts into Third World decrepitude at its edges and features a running commentary from the martyred Archbishop Romero.
It's a place peopled by what, for lack of a better term, could be called the spirits of the four murdered women -- a group of souls that have been reimagined by Raoul as a quartet of French whores. As made manifest by Lea Eckert, Carol Todd, Lily Mercer and Corinne Edgerly, the nuns and whores are just a couple of aspects of the same multifaceted characters.
These smart, strong, sexy players don full habits, severe business suits and thongs to transform themselves into everything from United States attorneys and TV network executives, to Raoul's own wife and kids. Slipping in and out doors and windows -- in and out of character -- the actresses effect lightning-fast costume changes Todd in particular often seems to be in two places nearly at onceshow off their dance moves Eckert's formidable go-go technique would brighten the stage of any fine Jersey Shore establishment and continually break down the wall between performer and audience, via a series of 'candid' talks that very quickly win over the crowd.
Savvy performance This would appear at first to put Jonathan Cantor performing but a single role as Raoul at a marked disadvantage, and at first his broad assumed accent and bellowing, unmelodious delivery make it difficult for theatergoers to find a point of access into the character whose head we're ostensibly touring.
It's not long, however, before this savvy performer manages to find a way to get the audience on the side of the despicable little tinhorn despot -- particularly in a hilarious monologue wherein the general confesses his longstanding dream of doing stand-up comedy in Miami, addressing the onlookers while juggling his stress-relieving "worry balls.
All of which leads back to the matter of how we can wind up laughing with a man who's responsible for the brutal killings of thousands of men, women and children -- including, of course, those ill-fated missionaries.
While there's a good bit of evocative language describing the final hours of the four women along with some pre-show expository comments from NJ Rep co-founder Gabor Barabasit becomes evident very early on that the author's treatment of their story is way more satiric than sanctimonious -- particularly when the play opens on the general starring in a private porn-flick scenario that features an eager-to-please young nun.
Blessing and director John Pietrowski spice the proceedings with a bit of striptease, lapdancing, masturbation and salty sailor-talk. While all of this sounds pretty dreadful on paper, it works, with its own skewed logic, to put across the very serious points that underpin the script note to all you younger viewers who have been avoiding live theater: The old folks are having a lot more naughty fun than you.
This is the fourth and finest co-production of NJ Rep in cahoots with Playwrights Theatre of New Jersey to whose home stage in Madison this show moves upon completion of its Long Branch engagementand PTNJ's Pietrowski has done a great job drawing the audience into Blessing's difficult piece -- a still-unpublished play that is actually much different from the two-act script that was seen in a reading at NJ Rep just last year a performance in which Eckert, Edgerly and Mercer participated.
It's been shortened by some 30 minutes into a breakneck-paced, intermission-free series of blackouts, becoming even more savagely funny in the process and hammering home its bitter lessons with a sure satirist's touch that's rarely seen on American stages these days.
NJ Rep's "Whores" just another day at the theater by Philip Dorian Put aside the reasonable supposition that Lee Blessing titled his play based on the murder of four American women three of them nuns in El Salvador Whores just because he could.
And don't worry that those women are portrayed as sex workers; they are not. There's a traditional hooker or two in the play, as well as some uninhibited porno divas, and the nuns also appear; but, while they're all played by the same four actresses, the one group is not the other.
Using the murders as a springboard, Blessing blisters the history of United States diplomatic relations with Central American dictatorships. A former dictator, now living in comfort in Floridais on trial for the slayings.BUREAU OF ARTS AND CULTURE MAGAZINE presents TWO EXCITING NEW EDITIONS FOR SPRING THE LITERARY EDITION and LITERARY EDITION SPRING BUREAU OF ARTS AND CULTURE MAGAZINE Miller is a soul searching playwright who introduces ideas in the great American sagas such as, "Death of a Salesman," "All My Sons," "The Crucible," and spreads.
On Tuesday night, we'll roll out the red carpet as the people of Traverse City come out to welcome the world to beautiful Northern Michigan at an exhilarating celebration held under the sparkling lights of the State Theatre marquee.
Viewed as a dream depicting man's fear of competition, joblessness, rejection, obsolescence, poverty, helplessness and death, the ensuing, non-linear events brilliantly depict the logic of dreams. However, you may well find for yourself a different prism from which to view and interpret this play.
“Death of a Salesman” is a tragedy because Willy Loman is the cause of his own death and the tragedy of the play is built up and up to make it more of a definite sad death and finish to the play. The Requiem really rounds this whole idea of death and tragedy off.
The American Dream I feel also has some kind of Millers feelings on his own. Compiled by Prof. Wesley Edward Arnold MA.
With thanks to the help of many folks to told me their memories. References and credits are being added. Charlotte Sun, HERALD PHIL EVERY DIES AT 74 reading, you can step back on and get a different and 'atf, sometimes more pleasing number.
S"It was a good l feeling this morn-.H ing after weighing Steven Arthur Ruthven of Port Charlotte, and Doreen Marie Ratchford of Port Charlotte.