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?
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?