A giant robot will soon be descending on the city.
Metrobot, the interactive aluminum sculpture by Nam June Paik, once
greeted visitors outside the Contemporary Arts Center’s former space at
Fifth and Walnut streets downtown.
The play’s title, a distillation of its
evolution of emotion and circumstance, is a lyric from an obscure Rock
tune, and it’s an apt précis of the story’s arc. The script could easily
have descended into a soap opera-like drama or a silly comedy, but it
does not. Gionfriddo is a masterful writer of witty, provocative
dialogue, and her characters are painfully real.
This dense, provocative script is a challenging work, but director
Brian Isaac Phillips has staged it beautifully with nine excellent actors who are
breathtakingly powerful in a complex tale that spans 80 years and four generations of two intricately interwoven families.
In 1960, Alan Jay Lerner and Frederick Loewe followed their 1956 megahit My Fair Lady with the musical Camelot.
Its arrival on Broadway coincided with the election of John Kennedy,
and many people extended the vision of a “magical kingdom” to his
ascendance as America’s charismatic 35th president.