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Strange Interlude by Jack Cummings III (review)

Strange Interlude by Jack Cummings III (review) Str ange Interlude Directe D by Ja ck c ummings iii t ranspor t g roup t hea tre c ompany i ron Dale t hea tre c enter b rookl yn, ny o ct ober 6– n o vember 18, 20 17 Reviewed by Sheila Hickey Garvey Transport Group e Th atre Company and its artistic director Jack Cummings III’s choice to produce off-off Broadway Eugene O’Neill’s Pulitzer Prize– winning nine-act and sometimes six-hour play was an opportunity to muse upon this sometimes frustrating, sometimes enthralling 1928 experimental piece. The last significant New York City area production of Strange Interlude was Glenda Jackson’s 1985 Tony-nominated Broadway production. Strange Interlude’s plot centers upon Nina Leeds and her unfulfilled pas - sion for a man named Gordon whose death in World War I drives her to a period of promiscuity. Aer r ft ecovering from this youthful nervous break - down, Nina spends the remainder of her life with men who do not measure up to her idealized memories of Gordon. Director Cummings strategized with scenic designer Dane Laffrey to create three performance spaces within Brooklyn’s Irondale Theatre Center, a reconstituted church interior. The three areas seamlessly transformed into Strange http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Eugene O'Neill Review Penn State University Press

Strange Interlude by Jack Cummings III (review)

Eugene O'Neill Review , Volume 39 (1) – Apr 24, 2018

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Publisher
Penn State University Press
Copyright
Copyright © The Pennsylvania State University
ISSN
2161-4318

Abstract

Str ange Interlude Directe D by Ja ck c ummings iii t ranspor t g roup t hea tre c ompany i ron Dale t hea tre c enter b rookl yn, ny o ct ober 6– n o vember 18, 20 17 Reviewed by Sheila Hickey Garvey Transport Group e Th atre Company and its artistic director Jack Cummings III’s choice to produce off-off Broadway Eugene O’Neill’s Pulitzer Prize– winning nine-act and sometimes six-hour play was an opportunity to muse upon this sometimes frustrating, sometimes enthralling 1928 experimental piece. The last significant New York City area production of Strange Interlude was Glenda Jackson’s 1985 Tony-nominated Broadway production. Strange Interlude’s plot centers upon Nina Leeds and her unfulfilled pas - sion for a man named Gordon whose death in World War I drives her to a period of promiscuity. Aer r ft ecovering from this youthful nervous break - down, Nina spends the remainder of her life with men who do not measure up to her idealized memories of Gordon. Director Cummings strategized with scenic designer Dane Laffrey to create three performance spaces within Brooklyn’s Irondale Theatre Center, a reconstituted church interior. The three areas seamlessly transformed into Strange

Journal

Eugene O'Neill ReviewPenn State University Press

Published: Apr 24, 2018

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