Pittsburgh in the Round: Moments of bewilderment, outrage, psychological unraveling and genuine misery collide in unanticipated ways to create the peculiar experience of watching Pittsburgh Playhouse’s Conservatory Theatre Company’s adaptation of Edward Bond’s The Sea. Set in 1907, in an idyllic English harbor town, the play seeks to function as an exoskeletal reimagining of Shakespeare’s The Tempest, a majestic portrayal of deception—as is so commonly a trope of Shakespeare’s endeavors—that is caged in a very real yet very metaphoric tempestuous, calamitous storm. Cabot’s The Sea uses the elements of subterfuge and the premise of a fated marriage-to-be, but the verisimilitudes are not so apparent that they congest the flow of Cabot’s piece or the reception of the play.
1 comment:
I thinks it's interesting to note that the author says that the beginning of the play was intriguing. Often times, when I read books and see show I find the beginning is a drag. Since I’m not yet emotionally invested in the characters, I can’t relate to them and I don’t understand their point of view. When a show was an intriguing beginning, it grabs you early and creates high expectations for the end. I always seem to remember the end and base my opinion on the end rather than the piece as a whole. I also find it interesting that the author seems to draw a distinction between the opening scene and the beginning of the story. I wonder why this is the case. This story sounds fascinating with lots of twists and turns. I hope that I get to see this show before it leaves in December.
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