Her inspiration for writing of The Flick came when she went to see one of her favorite movies and they switched the showing from film to digital, making everything feel “off” about the production.
Being the forefront of bringing hyper-realism to the visual arts has put pressure on Baker, but she pushes right back by standing by her writing and daring to be different.īefore Annie Baker made her way to the playwriting scene, she was a child who loved the idea of what the movies could bring the individual. For some this play may move at slower pace than what is usually witnessed at a theatre production, but keep in mind that Annie Baker loves silence and showing you the messier sides of life. Taking hyper-realism to the extreme, this play is the realer than real. The Flick strongly encourages a deep evaluation between theatre and film, with an emphasis on the role of the audience. People always freak out when like you know when like art forms move forward.” “It’s just like different and that like scares you. Stage Manager: Caroline Avolio Dramaturgs: Mario Formica, Rachel O’Reilly | advised by: Christiana Molldrem Harkulich Light Board Operator: Melissa Rowan Sound Board Operator: Mackenzie Broshear Props Master: Aidan McBreen Property Crew: Nick Karakianopoulos Wardrobe, Hair and Make-up Crew: Rian Sondag, George Swarn and Megan Eakin Selected Dramaturgy Recent winners of the Pulitzer Prize for Drama have included Ayad Akhtar‘s Disgraced (2013), Quiara Alegria Hudes‘ Water By the Spoonful (2012), Bruce Norris‘ Clybourne Park (2011), Tom Kitt and Brian Yorkey‘s musical, Next to Normal (2010), Lynn Nottage‘s Ruined (2009) and Tracy Letts‘ August: Osage County (2008).Assistant Directors: Tanner McCormick, Colin Shimrock Scenic Designer: Laura Schorsch | advised by: Gion DeFrancesco Costume, Hair and Makeup Designer: Rachel Scardina | advised by: Melanie Mortimore and Meggan Peters Lighting Designer: Cassie Mings Assistant Lighting Designer: Erin Speno Sound Designer: Chuck Hatcher Other 2014 finalists in the Drama category, all written by women, included The (Curious Case of the) Watson Intelligence, by Madeleine George, and Jeanine Tesori and Lisa Kron‘s musical Fun Home. Baker’s previous plays, seen in New York to wide acclaim, have included Body Awareness, Circle Mirror Transformation, The Aliens and a new adaptation of Uncle Vanya. The Playwrights Horizons production featured Alex Hanna, Louisa Krause, Matthew Maher and Aaron Clifton Moten, all of whom are expected to return for the Barrow Street run.
Reviewing the production in The New York Times, Charles Isherwood called the play “moving, beautifully acted and challengingly long.” He continued, “If you have any feeling for ordinary people in furtive search of those extraordinary things - requited love, true friendship, a sustaining belief in man’s humanity to man - that can ennoble any life (or blight it, should they be lost), this lovingly observed play will sink deep into your consciousness, and probably stay there for a while.” While many rave reviews hailed it as an insightful metaphor for the chaos of contemporary life experienced by young outsiders struggling to keep up with a world in constant change, others scratched their heads, dismissing it as a marathon of banal talk and extended silences. Dates have not yet been announced, but producer Scott Rudin confirmed to The Hollywood Reporter that he is teaming with Barrow Street Theatre to bring The Flick to that Greenwich Village playhouse for a commercial run this year.
0 kommentar(er)
