The Conduct of Life
By Andrew Andrews
María Irene Fornés knows how to write a play about the human condition.
Elena Araoz knows how to direct a play by María Irene Fornés.
Long-time readers might recall how we were blown away by BOUNDLESS Theatre Company’s production of MUD at Teatro Circulo last October.
If so, it should come as no surprise that we were thrilled to learn that Araoz would be directing a production of Fornés’ work there again this year.
And they did not disappoint.
Now, The Conduct of Life has little in common with MUD beyond certain similarities:
Short scenes that begin at full speed and stop on a dime? Check.
Characters that delve into the depths of the human condition and elevate it to the surface for full exposure?
Orlando (Dakota Granados) is the officer in an unspecified Latin American army with an unquenchable desire to inflict pain on the innocent.
Leticia (Anna Grosse) is the wife who has “an opinion about every damn thing” and “can’t shut
Olimpia (Monica Steuer) is the housekeeper who doesn’t just run the house, she RUNS THE HOUSE… and she’s as quick to tell you about the boring details as she is to put you in your place when you challenge her authority.
Nena (Déa Julien) is Orlando’s victim.
And then there’s Alejo (Terrell Wheeler): Orlando’s comrade. Or is he?
Now, the story itself is a little more
But on that set, decked out in gorgeous costumes by Harry Nadal, with sound by Nathan Leigh and physical contact expertly choreographed by UnkleDave’s
So check it out, then come back here and tell us whether you agree.
Whether BOUNDLESS’ production delivers too much intensity for you to handle, or you agree that Granados’ perfect
Andrew Andrews attended The Conduct of Life at Teatro Circulo in Manhattan on Saturday, September 8, 2018 @ 12:34pm to write this review.
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