I have tix for the second of Suzan-Lori Parks' Red Letter Plays at Signature tonight--I'm very much looking forward to it! I just got off the phone with the box office to ask whether or not there was an intermission. I was informed that "they were going back and forth", but there would be no intermission "for tonight's show" (so I guess that's subject to change if you're going a different night). Just thought I'd let everyone know so you know what you're in for! :)
I saw this last night and even without an intermission it didn't drag at all (I am curious where the intermission would even be). It's a beautiful play and I absolutely recommend getting a ticket quickly since it was sold out last night. If you are sitting in the first row, the stage is raised up but it doesn't impact the view and the characters make use of the entire space so nothing is blocked from sight. I cannot recommend this play enough!! As another warning, if you are sitting in the first row stay alert since one or two prop items inadvertently went flying and hit a woman (she was completely fine and laughed it off).
I saw F*ing A twice last week (no apostrophe used by or at the theater, which was part of the experience of seeing this play. You have to say out loud in public the full word – “picking up tickets for F*ing A,” etc.) The first time, the first act dragged for me. Then the second act drew me in and I was totally in. I had to go again to see the first act ($30, all seats!!) knowing what would come later. This is a quirky, inventive, moving play (with limited singing/music) not connected with particular place or time which in the end gives it a timeless feel. Current issues are depicted but not in a context of national politics/political views. Small group of fine actors, gem of a theater. I live on the west coast and was in NYC for a short period of time. Otherwise, I would be seeing In the Blood.
I posted by thoughts on a different message board. Copying and pasting here:
Jo Bonney's new production of Suzan-Lori Parks's F*CKing A makes a stronger case for the play than the play itself. Parks's 2003 play -- a very loose riff on The Scarlet Letter, now revived by Signature Theatre -- has interesting things to say about parental devotion, the roles afforded to women in repressive societies, the struggles faced by the poor, and the necessity of "evil" work. Yet it's too often weighted down by pseudo-Brechtian devices, including an over-reliance on unmemorable character songs that impede the drama's flow. Despite this, Bonney's fluid, visually striking and largely well-cast production accentuates what works about the play, promoting the right balance of beauty and horror. (Rachel Hauck's stark unit set and Jeff Croiter's often chilling lighting design complement this well.) Christine Lahti's powerful, scrubbed-down performance anchors the production, which also includes a lot of fine work from an able supporting cast -- of which Joaquina Kalukango is a standout. One performance at the early preview I saw was not quite there yet, but probably will get there with time. Recommended.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Saw today's matinee of IN THE BLOOD, and there was still no intermission, straight two hour runtime, so looks like no intermission might be permanent?
Also had the following experience today at the theatre: staff letting in someone at about the literal 1 hr 30 min mark of a two hour play! A someone who proceeded to walk in with his cell phone light at full brightness, sit down and wrap up his texting for a few minutes, before finally turning his phone off.
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He came in during the Hester/Chilli wedding dress scene
into the mezzanine, which as y'all know is only three rows deep. Full on commotion and cell phone light and loud 'whispering' and texting thru basically that entire scene. If you're gonna come in at the 1:30 mark, your phone should at least be off!
Saw "F*CKing A" today and pretty much felt like AC did. I thought the production was better than the play. Great performances, but a few felt like they were probably cast because of their musical instrument ability and maybe not as strong on the acting front, which is a bit annoying.