![]() ![]() Additionally and obviously, the play offers a heteronormative, cisgendered, monoracial look at America. Exclamations like “gee” and “golly”, though faithful to the period, sound contrived and forced to audiences today. Especially because Our Town utilizes child and adolescent actors, the issue of genuine delivery becomes that much more important. ![]() ![]() I remember I was astounded by the set and the actors in general, but I was pulled out of immersion by the language. I first noted this when I saw the Strawberry Theater Workshop’s production of Our Town last year. The language in Our Town has become stilted over the years, and can prevent actors from being comfortable. There is no denying that some aspects of Wilder’s work are dated. Time, however, casts even the most revered works into new lights, and some of the more dated aspects of the play call into question whether it ought to remain the standard it is. Accumulating more recognition and awards over time, including a tony for Best Revival in 1989, Our Town ’s prominent place in the modern repertoire seems well deserved. It was also the first ever radio drama produced on Orson Welles’s Campbell Playhouse radio show featuring Welles himself in the role of the Stage Manager. ![]() By far Wilder’s best-known work, Our Town won the Pulitzer prize for drama in 1938. One of the theatre community’s favorite factoids is that every night, somewhere in America, some theater is performing Our Town. ![]()
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