Mary-Louise Parker will take your breath away with her deeply felt and sensitively drawn portrait of a tenured Yale professor who treasures great literature, but has made no room in her life for so…
will take your breath away with her deeply felt and sensitively drawn portrait of a tenured Yale professor who treasures great literature, but has made no room in her life for someone to share that love with. The other thesp in this two-hander is Will Hochman, endearing in the supportive role of a writing student who understands his odd-duck teacher and shares her values.
This overwhelming sense of depression is externalized even more dramatically in Heather Gilbert’s lighting design. The show opens in deep darkness, and only grudgingly, it seems, provides some warming lights for Bella and the heartbreaking monologues she delivers mainly to herself, then gradually to Christopher, and from time to time, directly to the audience.must have counted every last one of those hairs before allowing them onstage.
After moving on to discuss certain favorite authors , she grows more personal, sharing such intimate secrets as her state of health, which will become more important as she and Christopher become close friends. And look at her, laughing at herself. “Like many single, self-possessed women who’ve managed to find solid footing in the slippery slopes of higher education, I’ve been accused of being a lesbian. And a witch. …and a collector of cat calendars.
Soon, Christopher is making drop-in visits to Bella’s office, where he occasionally comes down from his literary mountain to share something more relatable to a non-academic audience. He prefers writing in longhand to using his computer, hates email, and really loathes twitter, which he declares is the medium “for people who are terrified by the idea of solitude.”
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