This week Michael Feingold goes our of the past, revisiting three plays form the World War One era. Feingold sees echoes of our current conflicts in the art of earlier generations. He surrenders to R.C. Sheffield’s Journey’s End, its revival directed by David Grindley. He has wispier praise for the J.M. Barrie ghost story Mary Rose and a revival of Harley Granville Barker’s The Madras House at the Mint.
In the Sightlines section, John Beer squeezes into Yoji Sakate’s The Attic, pronouncing it “witty, bizarre, and intensely moving.” Katie Baker investigates The Girl Detective, a stage adaptation of Kelly link’s short story, with excellent results. Arrivals, a play discussing government encroachment on civil liberties, encroaches on Andy Propst’s time.
I took in two plays featuring girls gone not exactly wild, but certainly somewhat astray. Julian Sheppard’s Los Angeles is a star map to ingénue Audrey’s psyche. In Anna Ziegler’s BFF, a young woman finds herself borne back ceaselessly, and somewhat shallowly, into the past.