Blood is thicker than water, but it isn’t bondage— an unyielding tie to our relations— it’s more like a bond— a tie that connects us to one another in an unbreakable and inexplicable manner. Under the skin, we’re all family, tracing our roots back to the most basic of human origins, and playwright Michael Hollinger articulates that in his touching familial drama Under the Skin. Directed by Vincent M. Lancisi, this poignant and evocative drama performs explorative theatrical surgery on the construct of human relationships when it comes to the boundaries of the body and the limits of love.
We don’t live alone. Our lives intricately touch so many others. Strangers on the street, shop girls assisting us with things, women of the town, factory girls hard at work, they are all living breathing human beings. And what gives us the right to decide that a simple action on our end does not impact their lives irrevocably? The fact that our station may be above theirs? The fact that we are of importance and they are of little consequence?
Silence is not beautiful. Understudies are not bitter. Silence is a failure of words; silence is defeat. And understudies are real actors that are failed to be recognized in light of a big name draw to a Broadway show. This riveting and uproarious concept, albeit completely true, is wrapped up in Everyman Theatre’s production of Theresa Rebeck’s The Understudy. Directed by Joseph W. Ritsch, this exciting dramadey is more than just a metaplay about real life actors and Kafka.