content="CurtainUp, Kathryn Osenlund" name="author"> CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
A CurtainUp Philadelphia Review
Etched in Skin on a Sunlit Night

You put too negative a value on pain.— Jules

While in your presence my scope is limited by your lackluster imagination.— Jonsi
Etched in Skin on a Sunlit Night
Phyllis Johnson and Jered McLenigan
(Photo credit: Seth Rozin)
Kara Lee Corthron’s unusually named play, Etched in Skin on a Sunlit Night, is in World Premiere at Philadelphia’s InterAct Theatre Company. With its social activist agenda, InterAct is a natural for developing the work of emerging young playwrights with messages, and the company is to be admired for seeing talent and living its principles so well and for so long. Of course, risk is involved when a theater company takes chances.

The play’s start is promising. When, in the prologue, you see a husband invite his wife to carve her name on his chest —and she does— it has your attention.

It’s 2008. Jules, a black woman artist who ran away to Iceland years ago, lives with her Icelandic investment banker husband and their young daughter. For some reason Jules won’t call her mother on the phone. An expat whose hopes are pinned on Obama, she spends her days watching TV, punishing herself, and painting pictures of the lead singer of an indie band, about whom she hallucinates.

The actors, including a little girl (Aria Jones), do a great job with a challenging, confusing script that’s filled with earnest and jejune pronouncements like: "Give me your pain." Phyllis Johnson and Ian Bedford are powerful leads. Akeem Davis (Warton) in a sketchy role, demonstrates his considerable powers of concentration, and Jered McLenigan as Jonsi, a verbally bizarre hallucination, reveals whole new aspects of his range.

Because it’s structurally all over the place, the play comes off as a long hodgepodge of impulses — a concoction of race matters, masochism, Obama-hope, financial collapse, mom-issues, obsession, art, anarchy, longing for expiation, and Iceland.

In a rough and turbulent play, two short sex scenes go to unintentionally humorous lengths to preserve a coy modesty. And it’s a stretch when an unlikely visitor on an unclear errand is immediately accepted and invited to engage in dangerous games. Issues that start out as being important lose potency, while former non-issues cut loose and take center stage. Near the close, secret motivations are blurted out rather than cagily revealed, and an apparently steady character does an about-face and goes criminally out of control.

Yet under the direction of theater visionary Whit MacLaughlin, and with fine designers, the show has its moments: At one point Jules actually licks the image of candidate Obama on TV. There’s cool, intriguing music with accompanying visuals of audio waveforms. Projections also include shadows, occasional brief translations of Icelandic dialogue, and wonderfully painted, harsh and bloody takes on illustrations from a traditional Icelandic children’s book that’s unconsciously racist.

This production illustrates the risk that InterAct takes. Not every new theatrical effort will result in an unmitigated success. Etched in Skin needs to get a handle on itself. It’s hard to make sense of a psychological drama that gets so contorted it starts to look like an attempt at theater of the absurd.

Etched in Skin on a Sunlit Night
by Kara Lee Corthron
Directed by Whit MacLaughlin


Cast: Phyllis Johnson, Ian Bedford, Aria Jones, Jered McLenigan, Akeem Davis
Scenic Design: Tim Brown
Lighting Design: Maria Shaplin
Costume Design: Rosemarie McKelvey
Sound Design: Robert Kaplowitz
June 1- 24, Opening June 6, 2012
2 hours and 15 minutes with one 15 minute intermission
Reviewed by Kathryn Osenlund based on 06/13 performance. InterAct Theatre Company, Mainstage at The Adrienne, 2030 Sansom Street
REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
  • I agree with the review of  Etched in Skin on a Sunlit Night
  • I disagree with the review of Etched in Skin on a Sunlit Night
  • The review made me eager to seer Etched in Skin on a Sunlit Night
Click on the address link E-mail: esommer@curtainup.com
Paste the highlighted text into the subject line (CTRL+ V):

Feel free to add detailed comments in the body of the email. . .also the names and emails of any friends to whom you'd like us to forward a copy of this review.

Visit Curtainup's Blog Annex
For a feed to reviews and features as they are posted add http://curtainupnewlinks.blogspot.com to your reader
Curtainup at Facebook . . . Curtainup at Twitter
Subscribe to our FREE email updates: E-mail: esommer@curtainup.comesommer@curtainup.com
put SUBSCRIBE CURTAINUP EMAIL UPDATE in the subject line and your full name and email address in the body of the message. If you can spare a minute, tell us how you came to CurtainUp and from what part of the country.
Slings & Arrows  cover of  new Blu-Ray cover
Slings & Arrows- view 1st episode free




Anything Goes Cast Recording Anything Goes Cast Recording
Our review of the show

Book Of Mormon MP4 Book of Mormon -CD
Our review of the show
amazon




©Copyright 2012, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com