This one, however, is rebeeck better. In Seminara provocative comedy from Pulitzer Prize nominee Theresa Rebeck, four seminar theresa rebeck script young novelists sign up for private writing classes with Leonard, an international literary figure. See more monologues from Theresa Rebeck. Too many to be forgiven.
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Theresa Rebeck is an accomplished playwright; her script for Seminar is a pointed and profound statement on creative writing.
Her world premiere of The Nest at the Denver Center is another testament to her ability to surprise and enlighten an audience. The Nest is a drinking establishment with a long history but a dim future. As Nick David Mason says, their dwindling customer base is comprised only of some regulars who come to get drunk.
To be sure, the first act introduces us to those regulars, and indeed, they seem just as inebriated, funny and aimless as the characters in Cheers. They become obsessed with an unknown couple who get into an argument in the bar. Whether the argument is about war, disease, or gender differences is ultimately immaterial. Whatever the subject, the argument generates a lot of speculation and humor for the regulars.
The second act takes a dramatic turn, although there are still some laughs. Ned and his wife Lila Laura Latreille have a major blowout over whether to sell all or part of the once legendary but now struggling Nest. Each has his or her reasons for supporting or rejecting a deal, and neither is willing to compromise. A deal for just these two pieces could be a huge windfall, as well as an opportunity to remodel and remake the business.
What was genuinely funny in the first act becomes existential in the second. One of the regulars, Patrick Brian Dykstra unravels, either from greed, intoxication or a combination of the two. The results make at least one sale option unlikely, but the meltdown is just a preview of how toxic the relationships in The Nest have become.
Like a ship adrift in a storm, all aboard the doomed vessel may perish with it. They have wasted years of their lives in pursuit of value in bottle.
The conflict over selling The Nest becomes less a business deal than a defining moment for everyone associated it. Mason blows up though, unable to waste any more of his days going through the motions. Mason is alternately rational and aggravating; he makes no secret that he will do a deal without Lila if he must. That he would even consider cutting her out is outrageous. Lila, for her part, is principled but just as aggravating as Ned.
Latreille is as stubborn as she is convincing. I once knew a woman as stubborn as Lila. We parted ways many years ago, and it was best for both of us. She enthusiastically ignores facts that would make most of us think twice. For fans of Smash, you may recall that Rebeck occasionally has her characters throw a drink at annoying males. The couple erupts in the first act, but they show up to apologize in the second.
Brian D. Coats is magnificent as Barry, the black guy at the end of the bar who always has something to say. Coats has a gift for comedic timing; he weighs in with exactly the right words at exactly the right time. Set by Lisa Orzolek. The huge framed mirror over the bar is suggested but in every possible way realistic. The popcorn maker works; the cast makes popcorn during the show. The juke box delivers a sweet soulful soundtrack for the aging bar.
Director Adrienne Campbell-Holt has assembled a stellar cast, and she extracts winning performances from each. Campbell-Holt put the entire set on the Space Theatre turntable, giving the entire room a great view of the actors and the action. The real value here is the huge mirror at the center of the story, symbolically held up to the audience so we can see ourselves on those barstools. All episodes are free for Amazon Prime members. For those who felt Smash was unrealistic and aggravating, I get it.
On the whole, though, I still think there was plenty to like about it.
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While you may feel smarter by reading Seminar, Teresa Rebeck takes interesting concepts and mashes them together. Cheers for creating a character I wanted to literally strangle. I would not be surprised if at live productions, audience members have attempted to fight the character of Leonard by leaping onstage. The character is described as fierce and brilliant, but his dialogue really does not reflect those attributes at all. The one character that I even remotely had good feelings for was Martin, and he was seen by the other characters as an ass hole!
SEMINAR THERESA REBECK SCRIPT EPUB DOWNLOAD