Lisa D'Amour (1969–)
Autor de Detroit: A Play
Lisa D'Amour es Lisa Damour (2). Para otros autores llamados Lisa Damour, ver la página de desambiguación.
Obras de Lisa D'Amour
Obras relacionadas
Etiquetado
Conocimiento común
- Fecha de nacimiento
- 1969-10-17
- Género
- female
- Nacionalidad
- USA
- Lugar de nacimiento
- New Orleans, Louisiana, USA
- Educación
- Millsaps College (BA English and Theater)
University of Texas at Austin (MFA in playwriting) - Relaciones
- Connelly, Brendan (spouse)
Miembros
Reseñas
New Orleans' Underbelly
Lisa D’Amour’s play introduces us to people tossed aside by life but who have found something resembling family at the Hummingbird Hotel, a wreck of a place that early on we know is doomed, as the area is undergoing gentrification witnessed by the building of a new Costco nearby. It features a large cast of failures, from the affable hotel manager, to the down and out prostitute, to the transgender performer, the burned out poet, the guy who got out (with the best name, Bait Boy), and the matriarch of the place, the dying former burlesque queen, Miss Ruby.
The play progresses through a day and it’s a monumental one as Hummingbird occupants, in love and gratitude to Ruby, are granting her wish and putting on a funeral party (Act II) for her, as she wanted in advance of her death while she could enjoy it (though she is enfeebled to the point of confinement to a concocted wheelchair and the ravages of dementia).
The dialogue overlaps and spins around the set, giving the production a built-in fast pace, but which requires audiences to pay close attention. Often it’s raw, as you would expect from folks kicked around by life and dumped on the road to the airport, and funny, too. But it also mines quite a bit of sentimentality, more sympathy for the characters, less empathy.
While it is definitely fun and colorful to watch, especially an immersive black box production, it may leave you feeling a bit less than fulfilled or with any more insight into the condition of marginal society, other than that people can create and need community even in the most awful circumstances.
… (más)
Lisa D’Amour’s play introduces us to people tossed aside by life but who have found something resembling family at the Hummingbird Hotel, a wreck of a place that early on we know is doomed, as the area is undergoing gentrification witnessed by the building of a new Costco nearby. It features a large cast of failures, from the affable hotel manager, to the down and out prostitute, to the transgender performer, the burned out poet, the guy who got out (with the best name, Bait Boy), and the matriarch of the place, the dying former burlesque queen, Miss Ruby.
The play progresses through a day and it’s a monumental one as Hummingbird occupants, in love and gratitude to Ruby, are granting her wish and putting on a funeral party (Act II) for her, as she wanted in advance of her death while she could enjoy it (though she is enfeebled to the point of confinement to a concocted wheelchair and the ravages of dementia).
The dialogue overlaps and spins around the set, giving the production a built-in fast pace, but which requires audiences to pay close attention. Often it’s raw, as you would expect from folks kicked around by life and dumped on the road to the airport, and funny, too. But it also mines quite a bit of sentimentality, more sympathy for the characters, less empathy.
While it is definitely fun and colorful to watch, especially an immersive black box production, it may leave you feeling a bit less than fulfilled or with any more insight into the condition of marginal society, other than that people can create and need community even in the most awful circumstances.
… (más)
Premios
También Puede Gustarte
Autores relacionados
Estadísticas
- Obras
- 7
- También por
- 1
- Miembros
- 73
- Valoración
- 3.9
- Reseñas
- 3
- ISBNs
- 41
- Idiomas
- 3
Lisa D’Amour’s play introduces us to people tossed aside by life but who have found something resembling family at the Hummingbird Hotel, a wreck of a place that early on we know is doomed, as the area is undergoing gentrification witnessed by the building of a new Costco nearby. It features a large cast of failures, from the affable hotel manager, to the down and out prostitute, to the transgender performer, the burned out poet, the guy who got out (with the best name, Bait Boy), and the matriarch of the place, the dying former burlesque queen, Miss Ruby.
The play progresses through a day and it’s a monumental one as Hummingbird occupants, in love and gratitude to Ruby, are granting her wish and putting on a funeral party (Act II) for her, as she wanted in advance of her death while she could enjoy it (though she is enfeebled to the point of confinement to a concocted wheelchair and the ravages of dementia).
The dialogue overlaps and spins around the set, giving the production a built-in fast pace, but which requires audiences to pay close attention. Often it’s raw, as you would expect from folks kicked around by life and dumped on the road to the airport, and funny, too. But it also mines quite a bit of sentimentality, more sympathy for the characters, less empathy.
While it is definitely fun and colorful to watch, especially an immersive black box production, it may leave you feeling a bit less than fulfilled or with any more insight into the condition of marginal society, other than that people can create and need community even in the most awful circumstances.
… (más)