Thanks for the banner ad, Jeon.
And there were critics there last night, too. But then, I guess everybody is one.
As for my opinion, I really feel Ali has taken this show where it was supposed to go in the first place. It was written in anger. I felt betrayed, debased, unsure ... and guilty. I wrote a play rally, really fast about all of that. I finished the first draft in three months. That was ten years ago. I was 27.
By the time we produced it at Dobama's Night Kitchen, I had mellowed out a lot. Director Tom narrowed in on the melancholy aspects of the script, it's period. There were a lot of pop culture references, allusions to the Millennium (it took place, originally, in 1999 - now it takes place ten years after that, if that's even relevant) and maybe the word "allusion" isn't even appropriate, that implies subtlety.
It was a sorrowful play in 1997. And, uhm, a bit whiny.
Last night I was struck by the frustration of the characters of both John and Mary, locked into boxes they had put themselves in. Mary was trying to get out, and John was trying to stay in.
Speaking of which, I was reminded of the video for Happiness in Slavery by Nine Inch Nails. A man walks into a bizarre room, lights a candle, strips naked, and sits in a chair which slowly, lovingly, and systematically tears him to pieces.
I felt as though this production, finally, is the true manifestation of that idea. Despite protestations to the contrary, you feed yourself to that which will consume you.