It’s always a mix of excitement and nerves heading into tech and Q2Q. You suddenly realize you are in light when you thought you wouldn’t be seen, or you realize you’re completely in view when you thought you’d be having a bit of a break. You finally get to dive into the world with both feet and see how the waters feel.
The hope is that all the work that has come before will finally make sense. Costumes, lights and sound fill in the blanks and question marks. There is no denying that this play lives in a surreal world, and being placed in that world allows the actors to take the next step towards an audience.
Suddenly a scene late in the play that is set in the sanctuary of the church has a lot more weight and poignancy. The end of the play is chilling and beautiful as you knew it should be.
We’re heading towards the point where the actors are in the driver’s seat and all we can do is sit back and watch and hope they can keep it on the track.
Veritas Icon... the true image...
We finally get to see how The Madonna Painter looks, sounds and breathes in the space.
Hello Cory -
ReplyDeleteI saw the production last night with my husband. When we got home, we read the full review (Globe) which had prompted our attendance, and then looked up every other review we could find of the material. A discussion into the wee hours of the night ensued.
I was wishing I had a copy of the actual text to revisit a few things - the notes say the play will be published in English in the spring of 2010. Your quote from the priest "Fear is Powerful. I must do some research" reminded me of another theme in the play.
In any event -- the closing description of the frescoe went by a bit too fast. It sounded like a reversal, an inversion -- a rather nasty interpretation of the father's vision, beyond just the use of the priest's face. Sadly, my spouse did not recall all of this detail.
Is there any way you can send me, or post here (with appropriate spoiler warning) the text of that description? I would be grateful to read it again.
This isn't about winning an argument -- it's about trying to understand this compelling horror show.
This morning I awoke remembering that Mary of the Secrets was giggling, according to the priest... yet she seemed to have seen the painting. So perhaps that's what she and the priest were giggling about...
Many thanks.
Susan Abbott