Orlando Review
6 / 10
The episodic adventures should be delightful, but they are instead removed and remote, for a compound of reasons. Ruhl’s script relies on narration rather than dialogue (of which there is admittedly relatively little in Woolf’s novel.) Six of the cast members (all but Mac) spend most of their time not as characters but as chorus members. They divvy up their exposition, often one single line after another. And they are often huddled together on a stage that is essentially bare – which results in a vastness that swallows up their lines.
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