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ejreadswords 's review for:
A Bright Room Called Day
by Tony Kushner
challenging
dark
emotional
mysterious
reflective
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
“I am not a camera; I would like to be a camera; or maybe something more I don’t know participatory than a camera even, but instead I am the Zombie Graduate Student of the Living Dead.”
My Angels in America scene partner Romeo is a HUGE Tony Kushner fan / expert. Kushner is their favorite playwright (please correct me if I’m misquoting you, Romeo — you follow me here on Goodreads). Romeo also performed as Baz from this play at our first day of conservatory showcase, and when I got to that part of the play, it hit me doubly hard, knowing the context of the play and the purgatorial circumstance that the characters find themselves in, being in Germany during the time when Hitler is rising to power.
“History repeats itself, see, first as tragedy, then as farce.”
It’s a tragic play, as I discussed with Romeo tonight in class. There’s a defeat that permeates; it’s tough to read now, especially with Trump coming to power for his second term in the US. But it’s never been more relevant. In fact, Kushner said that no one wanted to produce it for decades until Trump won his first term for President that he re-wrote it with a contemporary lens. The version I read, however, was Romeo’s personal copy (which was the 90s version).
I see no reason to be ashamed. In the face of genuine hopelessness one has no choice but to gracefully surrender reason to the angelic hosts of the irrational. They alone bring solace and comfort, for which we say, in times of distress, “Hosannah and who needs science?”
As Hitler comes to power, the characters discuss the futility of their actions. Though they stand for what they deem morally correct or acceptable, society (or at least the masses) tells them, “nice try, but, nope!” It’s hard to live your truth when fascists prey on the tired, hungry, angry, and therefore easily-manipulated populace with empty promises and harmful practices.
“Art… is never enough, it never does enough. We will be remembered for two things: Our communist art, and our fascist politics.”
Watching each of the characters fold under Nazi pressure or self-destruct due to disappointment from the world is tragic, but it’s hard to blame any of them.
“Our humanity,” he said to himself, “is defined through our struggle to overcome nature.”
Such an intellectual play. I loved how much it made me think as well as the philosophical debates. Art is certainly necessary, but some of its job is for us to educate ourselves and take in the pain — like Jane’s takeaway in Max Wolf-Friedlich’s play Job: the only way for us to take the darkness out of the world is to take it in and… suffer with it. Perhaps the knowledge seeps into our subconscious and slowly we’re radicalized to eventually… do something about the fucking bullshit of this world.
My Angels in America scene partner Romeo is a HUGE Tony Kushner fan / expert. Kushner is their favorite playwright (please correct me if I’m misquoting you, Romeo — you follow me here on Goodreads). Romeo also performed as Baz from this play at our first day of conservatory showcase, and when I got to that part of the play, it hit me doubly hard, knowing the context of the play and the purgatorial circumstance that the characters find themselves in, being in Germany during the time when Hitler is rising to power.
“History repeats itself, see, first as tragedy, then as farce.”
It’s a tragic play, as I discussed with Romeo tonight in class. There’s a defeat that permeates; it’s tough to read now, especially with Trump coming to power for his second term in the US. But it’s never been more relevant. In fact, Kushner said that no one wanted to produce it for decades until Trump won his first term for President that he re-wrote it with a contemporary lens. The version I read, however, was Romeo’s personal copy (which was the 90s version).
I see no reason to be ashamed. In the face of genuine hopelessness one has no choice but to gracefully surrender reason to the angelic hosts of the irrational. They alone bring solace and comfort, for which we say, in times of distress, “Hosannah and who needs science?”
As Hitler comes to power, the characters discuss the futility of their actions. Though they stand for what they deem morally correct or acceptable, society (or at least the masses) tells them, “nice try, but, nope!” It’s hard to live your truth when fascists prey on the tired, hungry, angry, and therefore easily-manipulated populace with empty promises and harmful practices.
“Art… is never enough, it never does enough. We will be remembered for two things: Our communist art, and our fascist politics.”
Watching each of the characters fold under Nazi pressure or self-destruct due to disappointment from the world is tragic, but it’s hard to blame any of them.
“Our humanity,” he said to himself, “is defined through our struggle to overcome nature.”
Such an intellectual play. I loved how much it made me think as well as the philosophical debates. Art is certainly necessary, but some of its job is for us to educate ourselves and take in the pain — like Jane’s takeaway in Max Wolf-Friedlich’s play Job: the only way for us to take the darkness out of the world is to take it in and… suffer with it. Perhaps the knowledge seeps into our subconscious and slowly we’re radicalized to eventually… do something about the fucking bullshit of this world.