Posted by apangburn in Improbable Fictions, University of Alabama
This performance of Hecuba marked a series of firsts for the Improbable Fictions staged reading troupe. It was their first of a planned three staged readings for this fall, their first foray outside of Shakespeare, and the first in their new home, The Bama Theatre’s Greensboro Room. It is a peculiar venue for drama. Folding chairs cluster on two sides of the stage area, which backs up to windows facing the street, windows which occasionally frame curious or bemused pedestrians. The room contains no raised stage; while it is always easy to hear the actors, it is sometimes difficult to see them. Actors who kneel or are below average height occasionally find themselves briefly obscured from view. While this is, at times, distracting, perhaps it is appropriate; Greek drama, with its masks and large theatre venues, was designed first and foremost to be heard.
While they may need some time to work out the kinks at their new home, the Improbable Fictions ensemble has unquestionably become stronger each semester since their foundation in the spring of 2010. This is drama stripped down to its most essential elements. They employ almost no props, limited lights, and simple costuming. In a subtle visual representation of the power dynamic within the world of the play, the Greek men, recent victors in the Trojan War, wear suits, while the enslaved Trojan women are clothed in simple dresses and head coverings. The performance features strong acting turns from everyone, all the way from Deborah Parker in the title role to an intimidating turn by Eric Marable, Jr. as a silent Greek solider.
The story continues.....
This performance of Hecuba marked a series of firsts for the Improbable Fictions staged reading troupe. It was their first of a planned three staged readings for this fall, their first foray outside of Shakespeare, and the first in their new home, The Bama Theatre’s Greensboro Room. It is a peculiar venue for drama. Folding chairs cluster on two sides of the stage area, which backs up to windows facing the street, windows which occasionally frame curious or bemused pedestrians. The room contains no raised stage; while it is always easy to hear the actors, it is sometimes difficult to see them. Actors who kneel or are below average height occasionally find themselves briefly obscured from view. While this is, at times, distracting, perhaps it is appropriate; Greek drama, with its masks and large theatre venues, was designed first and foremost to be heard.
While they may need some time to work out the kinks at their new home, the Improbable Fictions ensemble has unquestionably become stronger each semester since their foundation in the spring of 2010. This is drama stripped down to its most essential elements. They employ almost no props, limited lights, and simple costuming. In a subtle visual representation of the power dynamic within the world of the play, the Greek men, recent victors in the Trojan War, wear suits, while the enslaved Trojan women are clothed in simple dresses and head coverings. The performance features strong acting turns from everyone, all the way from Deborah Parker in the title role to an intimidating turn by Eric Marable, Jr. as a silent Greek solider.
The story continues.....
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