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.
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