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March 10, 2014


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This is another example of highly competent actors needing a good vehicle but not getting it. I had great expectations which led to disappointment because of the incoherent way the play was put together. It was almost adolescent in its temperament and was boring. Much of the writing was in clichés – and the very little bit about City Center was almost lost. To top it off the seats were hard.

Thank you for the review. The Sheik was actually filmed in the location. It is brought up in the play multiple times. Valentino was there before the Shriners built the Mecca Temple. Used to be an old movie studio. The playwrights did a lot of research. But maybe the expectations overwhelmed the non linear storytelling.

That's interesting to know and helps explain the use of the film in the play. Thank you! In response to your comment I looked (not deeply!) for more information and, while learning about a controversy about where the exterior scenes were filmed, will have to do more roving around to find out more about the filming of the interior scenes of that and other films. I can't quite follow the idea that expectations overwhelmed the non-linear story telling but I'm glad you raised the point. Best of luck in your work! Yvonne

I meant the expectations of the story being about the history of the venue rather or not lending to the relationship of the place to the artists so I was only thinking that didn't allow a positive experience with a non-linear story. It was a true treat to work on and exciting that the stories told focused on the marginalized people on the fringes of art and culture. From the beatboxer to the playwright to Tomomi to the Girl in love with a black man in the 30s...to Nahautl a Mayan dialect being spoken in that space is such an incredible thing to behold. Thank you for coming.

Thanks for the dialog! Here is another opinion of the piece. "As “The Architecture of Becoming” is a production of Women’s Project Theater, the feminist roots are seen. It is not only a women’s drama.. At the core of the play is a quest for identity, and the need for stories to be one’s own. If there is a larger, uplifting message about women in the play, it is about longevity. As architecture shifts and time changes, the stories and the people are always there."

... a little windy but ... interesting. Thanks for keeping me posted!

I see your point but in my view the potential lies with character of the piece to overcome or not any expectations ... there are always expectations (and mine weren't all that precise either.) What you describe in your comment is worthy -- for me it was best developed in the episode I focused on in my review. And, within that, I continue to think that accent mark on Dvorak (can't pull up an accent mark here) was a stunner -- I've been thinking where in theater, or in other literature, has an accent mark been used with such significative effect? I can't think of any ... if anybody can, please let me know!

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