Take a look at the full gallery here.
Monday, 10 December 2012
FACES: WRRR at Gate Theatre (London, England)
Flickr photographer Aref Adib shared some great shots of White Rabbit, Red Rabbit in London. Recognize that actor? It's Doctor Who's Arthur Darvill!
Take a look at the full gallery here.
Take a look at the full gallery here.
VOICES: Notes from a Notetaker at Mercury Theatre (Colchester, England)
Matthew Linley shared his notes from a performance of White Rabbit, Red Rabbit on his blog:
Post script (scribbled in the foyer)
I resist the urge to drink on the way out and in so doing answer at least one question. I do as I'm told. I leave gobsmacked.
Read the full text here.
Post script (scribbled in the foyer)
I resist the urge to drink on the way out and in so doing answer at least one question. I do as I'm told. I leave gobsmacked.
Read the full text here.
REVIEW: WRRR at Mercury Theatre (Colchester, England)
Reviewed by Michael Grey for The Public Reviews. Read the full review here.
"'I wrote something, and I hope you laughed!' Nassim/Tomos [the actor] comments. We did, and we felt a frisson, a tangible rapport with the writer back in Tehran. Isolated from his public, Nassim uses his fertile imagination as a political tool. The rabbits of the title are part of a fable, an allegory about his uncle and rabbits who, like Pavlov's dogs, learn behaviours which persist even when the stimulus is removed. This is a grim, black Aesop, where bears harrass rabbits and crows with walkie-talkies are hidden in the rafters. And after thirty seconds of fun our thoughts are directed toward suicide."
"'I wrote something, and I hope you laughed!' Nassim/Tomos [the actor] comments. We did, and we felt a frisson, a tangible rapport with the writer back in Tehran. Isolated from his public, Nassim uses his fertile imagination as a political tool. The rabbits of the title are part of a fable, an allegory about his uncle and rabbits who, like Pavlov's dogs, learn behaviours which persist even when the stimulus is removed. This is a grim, black Aesop, where bears harrass rabbits and crows with walkie-talkies are hidden in the rafters. And after thirty seconds of fun our thoughts are directed toward suicide."
REVIEW: WRRR at Dublin Fringe (Ireland)
Posted on The Flaneur. Read the full review here.
"Soleimanpour bravely rebels in the only way he can, through his words. It is an imaginative endeavour bringing the audience to him as he cannot come to us. He takes us out of our world for a mere hour and asks us to ponder what his life is like so many miles away."
"Soleimanpour bravely rebels in the only way he can, through his words. It is an imaginative endeavour bringing the audience to him as he cannot come to us. He takes us out of our world for a mere hour and asks us to ponder what his life is like so many miles away."
Wednesday, 24 October 2012
FACE: White Rabbit, Red Rabbit in Edinburgh
Actor Alexander Kelly performs White Rabbit, Red Rabbit at the 2012 Edinburgh Fringe:
FACES: White Rabbit, Red Rabbit in Italy
Actor Marina Confalone performs White Rabbit, Red Rabbit in Viterno, Italy as part of Festival Quartieri dell'Arte:
VOICES: New Haven Review (New Haven, CT)
White Rabbit, Red Rabbit was at Yale Cabaret this month. The New Haven Review has a great post online about the performances:
"Soleimanpour, as the absent presence in his play, needles us and nudges us and banters with us, all the while insisting that he can only have any affect upon us via theatre - he lives in Iran and can't leave his homeland, so theatre becomes his vicarious form of travel. And where does he travel to? Why, to our free society, of course, only to impose upon his audience and his volunteers as much as his autocratic imagination can devise, while undermining that relation as much as possible. We, the audience, have to decide how much we'll go along with. We're free to leave or intervene, or to refuse his commands.
...
"The best thing the play has going for it is that Soleimanpour has found a neat staging of his situation: in writing the play and putting his name to it, he doesn't know what will happen to him. In volunteering to be in the play, The Actor doesn't know what will happen either. Because of polite conventions in the "free world," probably nothing bad (the clean glass). But there are exceptions - ask Salman Rushdie, as the U.S. ambassador to Libya and three of his staff members who had nothing to do with a crappy film defaming Mohammad that happened to surface on their watch. Soleimanpour makes theatre. It might prove fatal (the poisoned glass)."
Read their full report on the performances here.
"Soleimanpour, as the absent presence in his play, needles us and nudges us and banters with us, all the while insisting that he can only have any affect upon us via theatre - he lives in Iran and can't leave his homeland, so theatre becomes his vicarious form of travel. And where does he travel to? Why, to our free society, of course, only to impose upon his audience and his volunteers as much as his autocratic imagination can devise, while undermining that relation as much as possible. We, the audience, have to decide how much we'll go along with. We're free to leave or intervene, or to refuse his commands.
...
"The best thing the play has going for it is that Soleimanpour has found a neat staging of his situation: in writing the play and putting his name to it, he doesn't know what will happen to him. In volunteering to be in the play, The Actor doesn't know what will happen either. Because of polite conventions in the "free world," probably nothing bad (the clean glass). But there are exceptions - ask Salman Rushdie, as the U.S. ambassador to Libya and three of his staff members who had nothing to do with a crappy film defaming Mohammad that happened to surface on their watch. Soleimanpour makes theatre. It might prove fatal (the poisoned glass)."
Read their full report on the performances here.
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