“Stanford Monologues: Behind the Bubble,” which played last week at the Elliot Programming Center, features nine actors reading compelling stories by real Stanford students — about issues such as race, gender, sexuality, religion and disability — compiled by playwright Joseph Lee ’17 into a piece of theater that tries to make us understand the diverse perspectives of Stanford students.
I spoke with Friedman — composer of “Bloody Bloody Andrew Jackson” — about his writing process, his body of work and his take on the cancellation of his production at Stanford.
“In a thousand years, this war will be utterly forgotten,” says actor Thomas Freeland about World War One in “Words to End All Wars.” Last weekend at Pigott Theater, Stanford Repertory Theatre premiered a staged reading of the beautiful and haunting new work “Words to End All Wars,” compiled and directed by Rush Rehm, as an effort to make sure the atrocities of World War One are not forgotten.
“There’s a fear that creativity peaks at age 23,” says Hal (Patrick James Lawhon) to Catherine (Jessica Waldman), the 25-year-old daughter of the now-deceased, famed mathematician, Robert (Matthew Libby), who made his greatest discoveries in his early 20s. Catherine deals with living in the shadow of her father’s success and grapples with his death, the world…
The play is a bold and original new work with well-crafted characters and poetic, evocative language, which particularly shines during Addie’s soliloquies. Starr fluidly tackles the potential challenges of combining so many dissonant characters and storylines by grounding them around the relationship between Addie and Luce, whose scenes adeptly portray the fragility of human contact and the tenuousness of relationships. Carefully crafted moments of connection between Addie and Luce combined with humorous one-liners allow Starr to tackle weighty and complex themes with buoyancy.
“Daring to be authentic.” That’s the way Amy Freed approaches the theater she creates, both as a playwright and as a director. Next quarter, she’ll be tackling Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” in conjunction with Shakespeare’s “Hamlet” for the Department of Theater and Performance Studies’s (TAPS) annual Undergraduate Acting Project.