Where Are You From?

Levine: maybe we don’t know enough about these lives – contemporary lives – to generate political relevance?  Here’s a revised version of this scene, updated to the present day: two terrorist contractors and a prostitute in a shipping container outside Venice, the night before a planned attack …

Levine: clearly Weil’s play is political on the content-level … but in terms of staging – you all see theatre, right?  None of you outright hate it?

[laughter, skepticism.]

But does shoe-horning Milton Friedman into a play update it?

For me it’s more specifically political – more topical – but less relevant.  In the first scene it’s specific to one person, in the second it’s more globally motivated … it feels too diffuse – the expanded knowledge confuses things.

Gideon Lewis-Krause: I would see it in an opposite manner.

How do you extract theatre from real-life information and place it into a compelling frame?


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