When the mother of your lover shows up unannounced on your doorstep, it’s kind of shocking.
When she’s looking for answers about her daughter’s final days, which she shared with you, the shock is much more dramatic.
That’s the situation in which the characters in Johnna Adams‘s Sans Merci find themselves. Directed in its world premiere by Heather Cohn and produced by Flux Theatre Ensemble (in rep with another new play, Honey Fist — watch for a GSAS! podcast on that one soon), Sans Merci is a play about poetry, activism, and, as Flux asks, “who owns the stories of the dead?”
Listen in as Johnna and Heather discuss grief, haunting, activism, and theatre that can make everybody feel something.
“A lot of chocolate, and a lot of kleenex.”
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Van Gogh. Gauguin. Duchamp.
We all know the maxim: “power corrupts, and absolute power corrupts absolutely.”
Many people try to avoid their hometown as much as possible. Maybe it doesn’t hold anything for you anymore; maybe it’s bad memories; or maybe it’s people you just don’t want to have to run into. For Evan, one of the two characters in David Harrower’s Good With People, it’s a combination of all three.
Honky is a play about relationships: about the relationships between five people, and about the relationships between who designs, buys, wears, covets, sells, and markets basketball shoes.