Review: Cat On A Hot Tin Roof (Sydney Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Apr 29 – Jun 8, 2019
Playwright: Tennessee Williams
Director: Kip Williams
Cast: Addison Bourke, Tristan Bowes, Peter Carroll, Harry Greenwood, Emily Harriss, Jye McCallum, Josh McConville, Zahra Newman, Pamela Rabe, Holly Simon, Nikki Shiels, Lila Artemise Tapper, Arie Trajcevski, Hugo Weaving, Anthony Brandon Wong, Jerra Wright-Smith
Images by Daniel Boud

Theatre review
Characters in Tennesse Williams’ Cat On A Hot Tin Roof suffer immense anguish. Regardless of where they happen to reside in the hierarchy of their social order, powerful or powerless, Maggie, Brick and Big Daddy are each unable to escape a torturous existence. A result perhaps of the family’s wealth, or maybe the American deep south in 1950s had truly been indiscriminately stifling, or life is simply unbearable no matter one’s choices and orientations; the beauty of Williams’ play is that it explains little. In its exhaustive excavations of human emotion however, we identify the truths of our beings at their deepest, but Williams leaves us to draw our own conclusions, on the causes of, and the resolutions for, all the pain that inevitably befalls us.

There is a lot that is sublime in director Kip Williams’ vision. A momentary glimpse of sitting Vice President Mike Pence on Brick’s television set, is a powerful suggestion of the play’s timelessness. Oppressive aspects of Western values, rooted in white patriarchy, is the undercurrent disquiet that drives the action. The production manifests a sense of hopelessness appropriate to the playwright’s pessimism, one that is masochistically gratifying, as is typical of classic melodrama, but also undeniably thought-provoking.

Brick and Maggie’s bedroom is sleek and modern in style, with dark colours and hard edges representing a masculine space in which Maggie’s lack of status is evident. Designed by David Fleischer, the stage is visually seductive, but arguably ineffectual with invisible doors, for a play that repeatedly involves itself with notions of intrusion. Stefan Gregory’s music takes its cues from film noir, nostalgically evocative and very pleasurable. Lights by Nick Schlieper are cold, almost menacing in their depiction of emotional torment. The many instances of fireworks in Act II are controversially manufactured, each time overwhelming our senses for several seconds, with their cacophonous, and repetitive, disruptions into Brick and Big Daddy’s long confrontation.

Actor Zahra Newman is entirely splendid as Maggie, dejected but determined, a broken woman hanging on to the little that she has, to turn a living hell into something coherent. Newman’s extraordinary instinct and artistic inventiveness, along with an uncompromising vigour, make Act I of Cat On A Hot Tin Roof a personal tour de force that has us hopelessly exhilarated. Big Daddy is masterfully performed by Hugo Weaving, who although brings to the role nothing that is unexpected, demonstrates his unparalleled stage presence and a searing conviction that absolutely captivates. The exaggerated theatricality he employs is riveting, with a psychological accuracy that allows us to perceive complicated dimensions of human nature, as we luxuriate in the sumptuousness of his delivery. Also very resonant, is Harry Greenwood as Brick, who overcomes his physical dissimilarity to the character, for a convincing portrayal of a defeated man who retreats into self-abuse. Greenwood’s approach is restrained by comparison, but he adds dynamism and texture to how the story is conveyed, on what is often a very loud stage.

Brick’s indulgence in alcoholism looks as though he is willing himself to die. Maggie on the other hand, who has much less to live for, can be seen maniacally scrambling for survival at every moment. Those are the extremes of how we can be, when facing the worst. The people in Cat On A Hot Tin Roof are all left to their own devices. Although under one roof, this is a family whose bonds are weak, with relationships built on mendacious foundations (the word “mendacity” is mentioned multiple times). Unable to locate anything honest and real, what they have can only feel empty; distracted by material riches, it is loneliness that is left unnoticed and festering. We see no love in this household, and realise that no peace or happiness could ever come their way.

www.sydneytheatre.com.au

Cat On A Hot Tin Roof 2019 Sydney Theatre Company

1May2019

Review: Sensitive Guys (Cross Pollinate Productions)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), Apr 30 – May 11, 2019
Playwright: MJ Kaufman
Director: Blazey Best
Cast: Natasha Cheng, Nancy Denis, Alex Malone, Shell McKenzie, Samm Ward
Images by Clare Hawley
Theatre review
We meet two small groups of students at an American college. One is a Men’s Peer Education Group, and the other a Survivor Support Group comprised of women victims of sexual assault. MJ Kaufman’s 2018 play Sensitive Guys looks at young men grappling with sexual politics, at a time when boundaries seem to be shifting, as the traditionally subjugated learn to push back against injustices of many kinds. In the story are what we might term woke men, but we discover that thoughts and actions do not necessarily correspond, for those who claim to know better. There is excellent humour in Kaufman’s writing, and although didactic in nature, its clarity of intention makes for a political work that feels immediate and digestible.

It is a passionate production, cohesively designed by an efficacious team of creatives, to facilitate a simple depiction of contemporary concerns. Directed by Blazey Best, the show offers an accurate representation of our hopes and anxieties as they stand today, in relation to the development of discussions around sexual misconduct. The show is a consolidation and reiteration of recent ideas from the Twitterverse, no longer fresh but still pertinent. An excellent ensemble of five actors deliver a well-rehearsed performance, earnest but also comical, able to keep us amused as they take on the responsibility of expounding some valuable lessons.

The young men in Sensitive Guys have much to unlearn; their understanding of sex and gender is revealed to be more damaging than they had ever imagined. There is a pleasure in watching bad boys flagellate themselves on stage. We want to see them punished, as well as see them become better people. The moral of this story is incredibly basic, but the truth is that we keep imparting to our children, old values that are harmful to many and beneficial to few. How we teach masculinity and femininity must come under scrutiny, as do our reasons for insisting on those binaries.

www.crosspollinate.com.au

28Apr2019

Review: Pygmalion (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Apr 23 – May 25, 2019
Playwright: George Bernard Shaw
Director: Deborah Mulhall
Cast: Colleen Cook, Steve Corner, Tiffany Hoy, Lisa Kelly, Emilia Kriketos, Natasha McDonald, Mark Norton, Robert Snars, Shan-Ree Tan, Sean Taylor, Vitas Varnas, Emma Wright, Tricia Youlden
Images by Bob Seary

Theatre review
The most gratifying aspect of Eliza Doolittle’s story is her refusal to be content with a life of misery, no matter what form it takes. Whether an impoverished flower girl, or a faux aristocrat, she is compelled to break free of shackles, as soon as she identifies an opportunity to do so. George Bernard Shaw’s Pygmalion talks about independence, and dares to place a feminine figure at the centre of speculations, in a work that tries to unpack the implications of class in British society, along with twentieth century notions of personal autonomy. Having coincided with the suffragette movement of the 1910’s, Pygmalion can be seen as a remnant of early feminism, with a female lead determined to discover the conditions for freedom, even if the playwright does put her through an unyielding series of torturous circumstances.

It is a wordy script, that Deborah Mulhall tries to overcome as director, by injecting speed and energy into its rendering. There are no indulgent pauses and few languid moments of sentimentality, resulting in a show full of vim and vigour. Intellectual complexities are occasionally compromised, in the absence of space for meaningful rumination, but the production holds our attention adequately for the duration, perhaps trusting that we would attain some degree of poignancy in the hours thereafter. Mulhall’s steampunk costumes, although well executed, are a curious addition, for a narrative not of any science-fiction or fantasy genre. Tom Bannerman’s remarkable set design is stylish, and cleverly conceived to facilitate dynamic stage action.

Actor Emma Wright is a strong Eliza, playful but firm in her interpretation of the classic role. Technically accomplished, yet an instinctual presence and emotionally rich, Wright’s modern approach is a wonderfully refreshing take of that familiar persona. An impassioned Steve Corner elevates the Henry Higgins character, to someone much more vulnerable than is conventionally depicted, for unexpected layers to the story that prove highly rewarding. Colonel Pickering is less surprising, but nonetheless effectively portrayed by Shan-Ree Tan, who impresses with one of the more sturdy performances from its supporting cast.

At the end, we understand that Eliza wants to be her own person, unbeholden to anyone. We also realise that in England a hundred years ago, spaces for women to thrive independently are not yet widely established. Eliza’s fate was not an optimistic one. With the passage of time, we certainly feel more able to operate in accordance with our individual sovereign wishes. Women are gainfully employed like never before, in areas of work unimaginable a century ago, and access continues to widen as we persist with the dismantlement of barriers. Progress is undeniable. If only we would stop our prejudice and judgement on women who look and sound different.

www.newtheatre.org.au

Pygmalion 2019 New Theatre

27Apr2019

Review: Frida Kahlo: Viva La Vida (Théâtre Excentrique / The Old 505 Theatre)

Posted in Theatre by Suzy Wrong

Venue: The Old 505 Theatre (Newtown NSW), Apr 23 – May 4, 2019
Playwright: Humberto Robles (adapted by Gaël Le Cornec and Luis Benkard)
Director: Anna Jahjah
Cast: Kate Bookallil
Images by Mansoor Noor

Theatre review
Frida Kahlo contracted polio at six, and at eighteen, a traffic accident further injured her body, causing a lifetime of excruciating pain, that would inform all of her work and legacy. In Humberto Robles’ one-woman play Frida Kahlo: Viva La Vida, we see Kahlo trapped at home, alone with her thoughts and the constant state of torture that her body must endure. She talks about art, love, business and politics, offering an opportunity for her legions of admirers to feel as though at close quarters with the Mexican icon.

Performed by Kate Bookallil, whose jovial presence imbues the show with warmth, insisting that audiences regard Kahlo’s story with only open hearts. Her exuberance conveys a lightness to the character that has a tendency to ameliorate some of Kahlo’s struggles, but we engage with her nonetheless, always caring about our protagonist, and hang on to every word she says. Director Anna Jahjah’s spirited approach makes for a playful show, appropriately colourful, especially with its visual manifestations. There could be greater tonal shifts, for a more segmented presentation to help us better absorb the text, but Frida Kahlo: Viva La Vida‘s strong statements about resilience and perseverance, bears an appeal that is universal.

Kahlo’s defiance is inspiring, powerful, and beautifully transcendent. We see her fighting to the death, and understand the depths of our individual capacities for hardship. Life is not fair. Although Kahlo did experience success late in life, she never had the privilege to see with her own eyes, the extent to which her work has reached, and touched, women everywhere. Our collective admiration would have empowered her in ways we can only imagine. We are all queens, when we raise each other up, and stay connected in mutual succour. If we are determined to leave no one behind, what we can achieve will truly be unprecedented.

www.theatrexcentrique.com

Frida Kahlo: Viva La Vida 2019 Théâtre Excentrique

26Apr2019

Review: Ajax (Burning House / The Old 505 Theatre)

Posted in Theatre by Suzy Wrong

Venue: The Old 505 Theatre (Newtown NSW), Apr 23 – May 4, 2019
Playwright: Sophocles (adapted by Jonothan Graffam, Robert Johnson)
Director: Robert Johnson
Cast: Leikny Middleton, Chad O’Brien, Seton Pollock, Michelle Robertson
Images by Mansoor Noor

Theatre review
When we meet Ajax, the revered warrior is in a state of disillusion, confused not only by bloodshed from endless battles, but also by the futility of his ambitions. Jonothan Graffam and Robert Johnson’s adaptation of Ajax attempts to reinstate relevance, in transporting Sophocles’s story by millennia to the present day. Its spirit is still in that conspicuous style of the classic Greek tragedy, but its brevity can cause a deficiency, as we try to construct meaningful narratives from its abbreviations.

Director Robert Johnson does good work with atmosphere; there is a certain level of sophistication to how the production looks and sounds, perhaps as a result of the simplicity evident in his approach. A very substantial portion of the show consists of monologues by the eponym, and on this occasion, Seton Pollock plays Ajax, covered in blood, and in a lot of anguish. It is a performance that begins with meters in the red, and stays there the whole time. His conviction is admirable, but that unwavering delivery of hyper intensity, quickly turns alienating.

Mythology sends our women and men to war. When our young go seeking glory, it is our stories that determine where they choose to find it. So much of myth making today, is about defending ourselves from those who want to corrupt and destroy our hitherto unsullied way of life. Our refusal to understand those who are conveniently classed other, and our insistence on seeing ourselves as being inculpable and above reproach, are the fundamentals on which we build national identity, and the justification for many lives lost. It is certain that defence is necessary, for evil is real, but peace must be found in many more ways that through the sacrifice of our brave souls.

www.burninghousetheatre.com

Ajax 2019 Burning House

21Apr2019

Review: Rabbit Hole (Chippen Street Theatre)

Posted in Theatre by Suzy Wrong

Venue: Chippen Street Theatre (Chippendale NSW), Apr 18 – 27, 2019
Playwright: David Lindsay-Abaire
Director: Christie Koppe
Cast: Alison Chambers, Rachel Giddens, Peter-William Jamieson, Imogen Morgan, Sam Wallace

Images by Benjamin Ryan
Theatre review
We meet Becca and Howie just months after the death of their small child. It is disconcerting that Becca seems unable to mourn her loss in a predictable way, and we wonder how her strategy of avoidance is going to pan out. David Lindsay-Abaire’s Rabbit Hole talks about the complex nature of grief, and the different things people have to do, in response to trauma. Positioned next to her husband’s more obvious approach, Becca looks frighteningly detached, refusing to speak of her pain, and only occasionally able to acknowledge the calamity that had befallen her home.

It is an energetic show, with a good amount of dramatic intensity, established by director Christie Koppe, to keep us engaged. Imogen Morgan portrays Becca as an animated personality but also, appropriately, emotionally stunted. The coldness of her exterior is articulated well by Morgan, but the true depths of Becca’s sorrow is often missing as a result. Her denial of her own suffering, is a fundamental ingredient of the story, but when the audience loses contact with that sense of torment, the show accordingly loses its sense of authenticity.

Howie the husband is played by Peter-William Jamieson, who delivers a convincing interpretation of bereavement inside his personal suburban living hell. The charming Alison Chambers is a genuine presence that makes everything she does for Becca’s mother, Nat, seem natural and believable. Rachel Giddens and Sam Wallace are compelling performers, both able to secure our attention whenever their supporting parts take centre stage.

Theatre about trauma is mesmerising. We gawk at people and their suffering, hoping to find salvation for our own unresolved troubles, even if only via a distant proxy. There is something liberating about Rabbit Hole‘s contrasting representations of the mourning experience. We are individuals who navigate the world in different ways, absorbing shocks as we go along, trying to stay in one piece until the inevitable end. It is naive to want to leave this existence unscathed, but to start each morning hopeful for a good day, whatever that may look like, must surely be a reasonable expectation, no matter one’s circumstances.

www.chippenstreet.com | www.facebook.com/RabbitHole2019

Rabbit Hole 2019 Exit Game Productions

20Apr2019

Review: Alice In Slasherland (Last One Standing Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Apr 18 – May 11, 2019
Playwright: Qui Nguyen
Director: Rachel Kerry
Cast: Justin Amankwah, Jack Angwin, Josh McElroy, Bardiya McKinnon, Mia Morrissey, Laura Murphy, Stella Ye
Images by Robert Catto

Theatre review
Lewis is a regular American teenager, who finds his town suddenly overwhelmed by Lucifer and other spirits of the underworld. With people being slaughtered everywhere, Lewis and his friends have to fight their way to survival. Qui Nguyen’s Alice In Slasherland bears all the hallmarks of a B-grade horror flick; an outlandish storyline, predictable characters and lots of blood and gore, along with a very healthy dose of kitsch and bad taste humour that makes the show more than a little tongue-in-cheek in its references to genre.

The production is messy, but also intentionally trashy. Like every low-budget movie ever made, we can identify all the flaws in this staging of Alice In Slasherland, but its imperfections do not preclude us from enjoying the silly fun that it so passionately delivers. Director Rachel Kerry’s vision for the staging is wonderfully vivid, but her ideas are almost never executed to perfection. The cast is remarkable for being able to embrace the clumsiness of their show, to convey a sense of humour that quite miraculously, works with, or perhaps against, the many technical improficiencies. Alice In Slasherland‘s horror aspects do almost nothing for us, but its comedy is certainly a joy.

Actor Bardiya McKinnonis is a spirited Lewis, appropriately over-the-top with the terror that he depicts. The eponymous Alice is played by Stella Ye, who meets the physical demands of the supernatural being, with a persuasive and dynamic athleticism. Lucifer is a vampy creature, as interpreted by Laura Murphy, whose capacity for camp seems to know no bounds. Her musical theatre abilities prove refreshing in a show that cares little about polish. Justin Amankwah is puppeteer for Edgar the bear, barely two feet tall, but huge in personality, thanks to Amankwah’s beautiful animation and extraordinary voice work.

Depending on one’s own tastes, there is a kind of self-deprecating humour to Alice In Slasherland that can be highly amusing. We vacillate between laughing at it, and laughing with it, trusting that none is expected to take any of this seriously. Over the coming weeks, the production will no doubt lose some of its raw edge, but as long as we can all be encouraged to remain playful for the duration, it would mean a job well done.

www.lastonestandingtheatreco.com | www.redlineproductions.com.au

Alice In Slasherland 2019 Last One Standing Theatre Company

19Apr2019

Review: How To Change The World And Make Bank Doing It (Limelight On Oxford)

Posted in Theatre by Suzy Wrong

Venue: Limelight on Oxford (Darlinghurst NSW), Apr 17 – 27, 2019
Playwright: Michael Becker, Ian Warwick
Director: Michael Becker
Cast: Michael Becker, Skye Beker, Laneikka Denne, Jarryd Dobson, Susan Jordan, Barbara Papathanasopoulos, Dominique Purdue, Dashiell Wyndham
Images by Sam Lax

Theatre review
Eve works as a charity fundraiser, one of those whose job it is to accost you at a shopping centre, and guilt you into donating to one cause or another. She meets people of all kinds, whether patrons or colleagues, all of whom contribute to Eve’s development, as a young woman trying to find her way in the world. Michael Becker and Ian Warwick’s How To Change The World And Make Bank Doing It is however, less a narrative surrounding its protagonist, than it is a collection of anecdotes from that microcosm of retail philanthropy. We see facets of suburbia through the eyes of those who open themselves to all and sundry, in a place where most of us have learned to navigate with blinkers on, ignoring as much as possible, in order to get from point A to point B quickly, and hopefully, leave unscathed.

These are amusing stories, a consolidation of identities, that offers a glimpse into who we are as a community. Becker and Warwick put effort into their representation of what happens behind the scenes at those charity stands, but the plot that results from their rendering of those relationships can feel somewhat perfunctory, never really succeeding at having us invest in any of the play’s main characters. Its observational humour however, is delightful, with an authenticity to its representations that resonates, able to have us engaged for its entirety. Actor Barbara Papathanasopoulos is very funny as Eve, taking every opportunity to create laughter, for which we are deeply appreciative. Also effective with his comedy is Jarryd Dobson as Nico, who brings to the stage some thoroughly enjoyable theatrical flamboyance. All members of the eight-strong cast are accomplished, with Susan Jordan and Laneikka Devine especially noteworthy for playing multiple roles, each one considered and energetic.

Eve wants to do good, but does not really know how. Her conundrum is probably shared by all, although most would scarcely spend more than a fleeting moment to ponder this inordinately big question, of how our efforts for charity can extend beyond the extra dollars we conveniently give away every once in a while. The play also talks about the bad that we do, that necessitates the creation of these organisations in the first place. It makes no sense to invest in undertakings that only seek to undo the effects of our other organisations we know to be harmful. Eve understands that as an individual, her responsibilities extend far beyond the provision of her own sustenance. She leaves us to find a way to attain fulfilment that is honest and virtuous, and we wonder about communities that have no space for her pure intentions.

www.limelightonoxford.com.au

How To Change The World And Make Bank Doing It 2019 Limelight On Oxford

18Apr2019

Review: Appropriation (Fledgling Theatre Company)

Posted in Theatre by Suzy Wrong

Venue: Studio Blueprint (Surry Hills NSW), Apr 17 – 27, 2019
Playwright: Paul Gilchrist
Director: Chris Huntly-Turner
Cast: William Bartolo, Damien Carr, Tara Clark, Clay Crighton, Alex Daly, Marcella Franco, Nick O’Regan, Angus Mills, Asalemo Tofete, Alex Rowe, Shannon Ryan, Sonya Kerr

Theatre review
Fortinbras steps into the limelight, now that Hamlet is dead. In Paul Gilchrist’s Appropriation, Fortinbras the Norwegian crown prince, has to work out a strategy so that he can take over Denmark. We learn that the prince likes to think of himself as a ruthless warrior, the type that distrusts the use of words and all things artistic. His wife Gabrielle is on a mission to convince him, that the most efficient way to conquer the Danish is not through violence, but by deception. The narrative of Appropriation is provocative, and passionately conveyed, even if its plot structure is frustratingly tangential. There is philosophy everywhere we look, which can be disorienting, but this is certainly not a piece of writing that can be accused of underestimating its audience.

The production is energised by Chris Huntly-Turner’s exuberant direction. Emotional intensity is built into every scene, with a cast of twelve bringing excellent conviction to the stage. Nick O’Regan is full of vigour as Fortinbras, and convincing as the sixteenth-century brute. Gabrielle is a more complex character, with Sonya Kerr effectively portraying her contradictory qualities, and proving adept at raising the drama to fever pitch, in the play’s final moments when she manipulates the populace into submission. Also noteworthy is the compelling Asalemo Tofete, in the role of Player, refreshingly honest as the persecuted artist fighting for the right to tell stories.

In the era of “alternative facts”, it is no longer expression that comes under fire, but the very notion of truth that is being threatened. We seem to find ourselves in a strange quandary, with consensus trumping evidence, and realities being created out of collective delusion and deliberate ignorance. If we believe that those who shirk their responsibility to tell the truth are not only unpunished, but are in fact rewarded, our social fabric can only deteriorate. We have to be vigilant, not only with the information we receive, but also in the way we defend what we believe to be right. Any way the wind blows, it is always a virtue, to question everything, including and especially the self. It is crucial that we continue to believe in the truth that will set us free, even if the truth seems never to stop shifting.

www.fledglingtheatre.com

17Apr2019

Review: A Little Piece Of Ash (Jackrabbit Theatre)

Posted in Theatre by Suzy Wrong

Venue: Kings Cross Theatre (Kings Cross NSW), Apr 16 – 26, 2019
Playwright: Megan Wilding
Director: Megan Wilding
Cast: Toby Blome, Luke Fewster, Alex Malone, Moreblessing Maturure, Stephanie Somerville, Megan Wilding
Images by Clare Hawley

Theatre review
Lily has just moved on to the next realm of existence, or in Indigenous terms, the Dreaming. Her presence in A Little Piece Of Ash, could be termed spiritual, a ghost perhaps, depending on one’s cultural proclivities. She sits in her comfortable armchair at home, like an angel watching over her daughter Jedda, as though little has changed. Megan Wilding’s play depicts death, of the human body, as a transitional extension of life that we must learn to endure, involving excruciating pain but is nonetheless and ultimately sublime. Jedda is unable to see or hear her mother, but in some ways knows that Lily is still here.

As we watch the grieving process take place, we understand it to be a journey toward enlightenment, trusting in an eventual peace that young Jedda will arrive at. Wilding’s writing is sentimental, occasionally humorous, a concentrated examination on the days immediately following Lily’s passing, honest in its inability to see beyond its all-consuming sorrow. Although somewhat repetitive in its expressions, A Little Piece Of Ash‘s sincerity is undeniable. Wilding is also director and actor (as Lily) in the piece, and it is her exceptional charm that really lights up the stage; one would be hard-pressed to conjure a performer more likeable.

Stephanie Somerville plays Jedda, memorable for the intensity that she sustains for the entire ninety-minute duration. It is a powerful portrayal of loss, effective in communicating the young woman’s state of trauma. A strong support cast is on hand to offer some texture to the show, with Alex Malone particularly authentic with the emotions she displays in the role of Ned, who had regarded Lily a mother figure. Design elements of the presentation are rich although not always executed with elegance. There is a raw quality to A Little Piece Of Ash that can at times seem unintentional, but its overall impact is more than adequate.

No matter what we believe happens after a person dies, it is how we as the living, manage deaths, that truly matters. How we honour those who pass, determines the people we are in the here and now. How we remember the deceased, informs the way we conceive of our future. The more we are able to recognise that the past is inextricable from the future, the greater respect we will be able to muster for all that surrounds us. When we imagine the dead to simply cease to exist, or that they progress onto completely disconnected dimensions, we run the risk of causing interminable damage to the present. The soul is eternal, whether or not we are kind to it.

www.jackrabbittheatre.com