Reviewed by Alvina Ruprecht
The opening of New Work/ Nouvelle création by Edouard Locke and his Montreal Company La La La Human Steps, offered a most beautiful corporeal landsacpe that showed us the space of memory in those invisible moments between the sudden blackouts and the emerging of shimmering bodies touched with shining highlights. The chiaroscuro effect came alive in a way I had never seen it before.
Memories of Louise Lecavalier ? whose blond mass illuminated his earlier works and whose gravity defying movement seemed to have left its permanent mark on Locke’s choreography. Perhaps. She was his creation but she also inspired his work. An interchange of energy that produced something memorable… This performance is triggered by two huge photographic portraits of women that unfurl from the top of the stage.
A younger woman…and an older woman: daughter and mother? The younger woman as she will be in the future? All form of relationship is possible but the essential thing is that they do not communicate openly. They do not speak, they barely look at each other. The have discrete gestures, adjusting the collar of a shirt, touching their own hair, placing their hands in a comfortable position.
May 19, 2011 Thursday at 4:37 pm
Reviewed by Iris Winston
Where is the line between obeying orders and following one’s conscience?
Should loyalty to “unit, corps, God, country” trump morality?
These are the underlying themes of Aaron Sorkin’s 1989 courtroom drama A Few Good Men. (The spark for the play — the attempt to cover up the death of an enlisted man resulting from illegal hazing delivered on orders from a superior — is apparently based on a case that Sorkin’s lawyer sister encountered in the JAG Corps.)
Interesting as this script is, it stops short of condemning blindly following orders, despite passing references to the Nuremberg defence of “just following orders” and the My Lai massacre.
May 15, 2011 Sunday at 5:49 pm