Way back on Wednesday, I went to see Enrique Urueta’s very moving Forever Never Comes, produced by Crowded Fire at Boxcar Theatre.
I got a chance to see an early staged reading of this play, but this is my first time seeing Enrique’s work actually produced (since I was out of town for hospitals and funerals during the run of his recent smash hit Learn To Be Latina).
It’s really cool to see one of his pieces move from page to production, since his writing style is so visual. I saw the script of The Danger of Bleeding Brown when we were both in the Bay Area Playwrights Festival, and there were often two or three columns of stage directions that spelled out precisely what was to happen during a non-verbal musical interlude. I imagine this script is equally detailed when describing the video projections that are an important of the show, which Sam Hurwitt describes thusly on The Idiolect:
One of the most effective things in the whole production is the use of Marilee Talkington’s video projections, which are mostly in the form of slideshow snapshots. We’ll get an establishing shot of the house in which a scene is set, and often we’ll see a photo of the characters in the same poses we’re seeing onstage—except the Fox Confessor is looming over their shoulders, watching them with menacing intensity. For a large chunk of the play Radecker doesn’t appear onstage at all, just in these onscreen glimpses, and the effect is incredibly creepy.
If I weren’t so damn busy, I would have got this little post up in time to say, “Hurry, only three more chances to see the show,” but now I have to say, “Hurry, only two more chances to see the show.” And one is only a couple of hours from when I’m posting this, so when I say “hurry,” I’m being quite literal.