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Field Guide by Rude Mechs (review)

Chirico, Miriam M

Theatre journal (Washington, D.C.), 2018, Vol.70 (4), p.553-555

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  • Title:
    Field Guide by Rude Mechs (review)
  • Author: Chirico, Miriam M
  • Subjects: New Haven, Connecticut ; Yale Repertory Theatre ; February 10, 2018 ; Mechs, Rude ; Adaptations ; Spirituality ; Free will ; Audience ; Dostoevsky, Fyodor Mikhailovich (1821-1881) ; Choreography ; Attitudes ; Actors ; Christianity ; Theater ; Feminism ; Morality ; Drama ; Collaboration ; Fathers ; Electronic music ; Lesley, Lana
  • Is Part Of: Theatre journal (Washington, D.C.), 2018, Vol.70 (4), p.553-555
  • Description: Costumes reinforced the archetypical nature of the characters, such as the lascivious Fyodor (Lowell Bartholomee), who appeared dressed as a satyr and defecated onstage, and Aloysha (Mari Akita), whose religiosity enabled him to hover above the stage, a gold-plated tray encircling his head as a halo. The direct confrontation with the audience continued with the three confessional standup routines that stripped away superficial layers to reveal human, or ursine, vulnerability: even the bear’s monologue attested to his fraught relationship with his father. The tonal range of the production veered widely, moving from discussions of human cruelty, to murderous desire, to purification through suffering, until the play ended with a fatalistic attitude toward life’s cruel joke: in childlike fashion, Dimitri/Lesley cavorted in a bounce house that inflated on the stage, shouting “Hurrah for Karamazov!” In sum, Rude Mechs’ production emphasized that among the many benefits of engaging with Dostoevsky’s novel, the most important may be the buoyant release from the burden of self-responsibility.
  • Publisher: Baltimore: Johns Hopkins University Press
  • Language: English
  • Identifier: ISSN: 0192-2882
    ISSN: 1086-332X
    EISSN: 1086-332X
    DOI: 10.1353/tj.2018.0108
  • Source: © ProQuest LLC All rights reserved

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