Alisa Playwright Patricia Lynn, artistic director of the Hunger and Thirsty Theatre, began her series of modern women’s center adaptations to the classic Gothic horror story with the company’s 2016 Dracula. Now performing at The Clemente’s Flamboyan Theatre, your invisible corset is based on feedback from the audience, rewriting her early vision of Bram Stoker’s iconic vampire novel of 1897, paying more attention to female victims of blood-sucking counts, while contemporary feminism Ideals are intertwined with the traditionalist views of women in society.
In October 2016, in a ward in the small town of Rhode Island, the fracture narrative moved back and forth within ten days, as the protagonist of the lost direction Mina Murray-Harker (depicting emotional and psychological barriers) Lynn and His other victims, including her friend Lucy (excellent Emily Kitchen, ecstatic and ecstatic in the Earl) and Reinfeld (Lauren Ruber), frightened them. Night creatures (a mysterious and powerful Nathan Rees Edmundson) and his other victims. , affecting the madness of the manner and the accent of Eastern Europe, indicating Dracula’s native Transylvania. Because the local doctor (and Lucy’s wife) Susan (Elizabeth Anne Rima) and her own husband John (Patrick T. Horn) took care of her, just came back from Romania at the request of the vampire, we wanted to know her What you remember is a real, disturbing nightmare, or a delusion of a deeply troubled mind (a subtle and relevant reminder of “believing her”).
Directed by Jacob Titus, the fascinating actor moves through the space, subtly narrating the basic emotional nodes of Stoker’s original story, and incorporating Lynn’s apparent rotation of their character relationship, as well as victimization, conquest and feminist rule – temptation , deceive or forced to surrender, and then leave feelings of uncleanness, fear, anger, helplessness and shame (note that “shame is the most powerful weapon used against the victim”) until “magic moment” self-empowerment and control right. The complete trajectory of character development is a sensible and powerful analogy of the “too much” and “time-up” movements, and the nominal “invisible corset” is a powerful metaphor for the close control of society’s expectations of women. This makes it difficult to achieve breathing.
The fascinating story, direction and performance are backed by horrific and effective design, Randall Benichak brings unforgettable soundscapes and Chen Yuzhong’s dramatic lighting, marking Mina’s dark and bloody memories of her well-lit room. The scene changes in the hospital. Jordan Reeves’ meticulously planned movements and combat choreography have made a superb contribution to the definition of the character. His sparse but meaningful production design allows people to use wooden boxes as a bed from Mina to a park bench, at the door. And all the things of the vampire. Coffins and props moved the time period from the late 19th century to the present (using mobile phones and laptops instead of handwritten letters and periodicals).
For a timely and intelligent examination of the challenges women face in the current world, your invisible corset provides a provocative look at the disturbing similarities between Stoke Victorian and present through postmodern feminist shots. Sexual realization.
Run time: About two hours, including intermission.
