“Jacob-Jenkins’ haunting family drama dredges up painful memories of the plantation’s terrible past, when people were property, something a slaveowner like the one who bought this plantation could appropriate.”
“Branden Jacobs-Jenkins manages something rather astounding: he speaks to an audience exhausted from family plays and race-relations-themed plays, and makes us take another look at a genre we thought we’d had enough of.”
“In one particularly inspired move, Eno conflates the crowds of citizens who mock and harass Peter into a single role named Town, handled here with terrific multiple-personality comic brio by Danny Wolohan.”
“They are the lifeblood of this organization,” says Zan Sawyer-Dailey, casting director for the Actors Theatre of Louisville, which programs the festival. “We’re looking for people who are really hungry, not just hungry to be actors but to know the theater.”
“No matter how unlikeable they are or how repugnant their choices, we come to understand how they got to be that way, which makes their ugliness and and their pain impossible to dismiss.”
Schenkkan’s play about Lyndon Johnson’s dogged campaign to pass the Civil Rights Act of 1964 received the top award of $25,000 and a commemorative plaque during the 37th Humana Festival of New American Plays at Actors Theatre of Louisville tonight (April 6).
“After two and one-half hours (including intermission), I found myself just wishing Peter Gnit would shut the hell up.”
“Downtown Louisville seems nearly as proud of its theater this weekend as its college basketball teams. ‘Enjoy the Humana Festival,’ a security guard at my hotel said Friday upon noticing my red lanyard. And the energy created by the mixing of industry types and eager locals is enjoyable indeed, even if my first day’s offerings […]
“The most intriguing works in the festival, now under the direction of Les Waters, take the audience on engrossing journeys through the thick underbrush of the human psyche as it is shaped by family, society and the divided impulses of the self.”
A preview of ‘Sleep Rock Thy Brain’ from director Amy Attaway.
“It’s unfailingly charming, entertaining, and creative.”
” For those of us seeing the bits and pieces for the first time, rehearsal is art. Sometimes more interesting art than the finished product.”
“Engine 31 is a ‘cousin’ of the original Engine 28. Like Engine 28, Engine 31 will bring together a diverse group of arts journalists to cover a single event over a short period of time.”
“As a rule, I’ll take big, audacious plays over smaller, safer ones—even if ambition sometimes leads to missteps.”
“One of my students said that it was a good thing the play had no intermission because half the audience would probably have left.”
The three one-acts that make up “Sleep Rock Thy Brain” rely on new info about the science of sleep.
“Tension builds plausibly from the semi-comic opening scenes to the dramatic explosion that results from the revelation that the clan’s father might have been something much worse than just emotionally disturbed.”
“It’s a dramatic illustration of the way political repression undermines and corrupts human relationships. It’s also a forceful illustration of both the futility of attempting to remain apart from life and the cost of doing so.”
“Avidon makes some courageous explorations in juggling several worlds that are part of our current culture. What idols can we turn to when we feel unsure about our lives?”
“For director Amy Attaway, ‘Sleep Rock Thy Brain’ proves an ambitious undertaking. She was able to wrangle a good deal of order into the evening, which included nearly 25 actors in essentially three productions fused together.”