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nhacco's review against another edition
challenging
dark
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
2.5
I mean, it goes into details and explores misogyny in a way that feels so unnecessary
Content Warnings
Graphic: Child abuse, Death, Gore, Lesbophobia, Abandonment, Adult/minor relationship, Body horror, Emotional abuse, Homophobia, Mental illness, Misogyny, Murder, Racism, Sexism, and Toxic relationship
mellamoger's review against another edition
dark
emotional
funny
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.75
litdoes's review against another edition
3.0
This play's conception and history is perhaps as muddled as the titular character. This adaptation by Nicholas Wright (from a translation by Wes Williams) combines Wedekind's "Lulu" plays, which took on different titles, "Pandora's Box" and Earth Spirit", at various points in Wederkind's checkered career.
Risque even by today's standards, Lulu is equal parts nymphomaniac and a virginal innocent who impetuously manipulates the men who desire her as well as fall under their tyranny with shocking pliancy, taking on a different name with each lover. The contradiction that Lulu is can be read as the confusing array of roles a woman are supposed to assume, which ironically proves to be schizophrenic if she were to encompass them all.
Lulu destroys each of her lovers in turn, ensnaring the affections of a Countess who wants her to be the star attraction at a ladies only party. It is clear Lulu enjoys the turmoil she creates and at a pivotal point in the play when she is caught in an act of betrayal, she declares, "This is the most beautiful moment of my life".
At times ludicrous and farcical, and the action bordering on pantomime, the play nonetheless convincingly raises the question of identity and how it is idealised or demonised depending on who constructs it, as is seen in Lulu's response when one of her lovers asks if she is an angel or devil. She says, I'm neither. This is me. I've never pretended to be anything else. All the rest is just your imagination. You can think about that."
Risque even by today's standards, Lulu is equal parts nymphomaniac and a virginal innocent who impetuously manipulates the men who desire her as well as fall under their tyranny with shocking pliancy, taking on a different name with each lover. The contradiction that Lulu is can be read as the confusing array of roles a woman are supposed to assume, which ironically proves to be schizophrenic if she were to encompass them all.
Lulu destroys each of her lovers in turn, ensnaring the affections of a Countess who wants her to be the star attraction at a ladies only party. It is clear Lulu enjoys the turmoil she creates and at a pivotal point in the play when she is caught in an act of betrayal, she declares, "This is the most beautiful moment of my life".
At times ludicrous and farcical, and the action bordering on pantomime, the play nonetheless convincingly raises the question of identity and how it is idealised or demonised depending on who constructs it, as is seen in Lulu's response when one of her lovers asks if she is an angel or devil. She says, I'm neither. This is me. I've never pretended to be anything else. All the rest is just your imagination. You can think about that."
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