Inhoudsopgave:
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\u003cdiv\u003e\u003cp\u003e\u0026ldquo;A fascinating, funny and evocative play. . . . Ruhl develops the story with the enticing blend of irreverent humor and skewed realism. . . . It\u0026rsquo;s beautiful.\u0026rdquo; \u0026ndash;\u003cI\u003eSan Francisco Chronicle\u003c/I\u003e\u003c/p\u003e\u003cp\u003e\u0026ldquo;[This] breathtakingly inventive addition to Ruhl\u0026rsquo;s singular body of work . . . has the potential to be a modern masterpiece.\u0026rdquo;\u0026ndash;\u003cI\u003eLos Angeles Times\u003c/I\u003e\u003c/p\u003e\u003cp\u003eSarah Ruhl made her Broadway debut this fall with her latest effervescent comedy: a play about sex, intimacy, and equality, set in the 1880s, when enthusiasm for the electric light bulb gave rise to a handy new instrument to treat female hysteria. The story revolves around the medical office and home of Dr. Givings, who regularly induces \u0026ldquo;paroxysm\u0026rdquo; in his once high-strung patient Sabrina, allowing her to happily return to playing piano. Soon, Sabrina falls in love with the doctor\u0026rsquo;s assistant Annie, and also befriends his wife Catherine, who is dealing with her own neurotic misgivings about not being able to breast-feed her baby. With this new work, Ruhl once again uses playful symbolism and lyrical language as she makes seemingly effortless thematic leaps\u0026mdash;crafting a play with tremendous critical and audience appeal, in her singular theatrical voice.\u003c/p\u003e\u003cp\u003e\u003cB\u003eSarah Ruhl\u003c/B\u003e\u0026rsquo;s plays include \u003cI\u003eDead Man\u0026rsquo;s Cell Phone\u003c/I\u003e, \u003cI\u003eThe Clean House\u003c/I\u003e (a Pulitzer Prize finalist), \u003cI\u003ePassion Play\u003c/I\u003e, and \u003cI\u003eEurydice\u003c/I\u003e, all of which have been widely produced throughout the United States and internationally. She is a recipient of the MacArthur Fellowship.\u003c/p\u003e\u003c/div\u003e |
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