Orlando by Em Christie (adapted from Virginia Woolf novel) - 2w, 6+ flexible
Orlando wanders out of the mists of Virginia Woolf’s mind as a teenage heartthrob in the court of Elizabeth I. Never aging past thirty, Orlando lives many generations as a man on a search for meaning before magically becoming a woman, thus subjected to a new and also impossible set of gender standards. Virginia’s love for Orlando radiates as the two intertwine across centuries, through Orlando’s transitions, and into the present moment, embracing queerness in all its beauty, connecting this historical meditation on gender and sexuality to modern audiences.
Note: Sarah Ruhl also has a play adaptation of the novel.
Labels: adaptation, comedy, drama
posted by Jim Vogel at 8:58 AM
3 Comments:
I read Orlando twice. I liked it better the second time but I don't have a strong desire to sit through a production. It would likely attract new audiences. It calls for the two main characters to not be cis males and most of the other characters are encouraged to be of "all gender identities and expressions". A possible positive is that the author is a member of the Playwright's Center and that could be a possible link. As far as I can see, the play has only had a staged reading at a small space in Moorhead, MN. For those interested, there is an interview, through the Playwright's Center website with the author.
If we have a strong desire to produce Orlando, perhaps we should also look at the Sarah Ruhl script, which has been produced in several places around the country including New York.
From Don - I think we should consider this play. It's very relevant and thought-provoking. There's a lot of flexible casting in this. The only requirement is that Virginia and Orlando are not played by cis men, and that leaves a lot of flexibility overall. I love the vibe of this play. It’s got a strong Brechtian-esque style to it. And it tackles the topic of trans/queer people in society. There’s a lot of satire for the audience to digest: trans rights, gender roles/women’s rights, the role and legacy of a writer, etc. These are all very topical ideas. I enjoyed this. The play moves quickly and smoothly. It blends the highs/light moments with the lows/dark moments nicely.
I saw the Ruhl play that Howard mentioned a few years ago and I like it more than this one. I like the plays message of embracing queerness, feminism, but struggled with the literary references. I also know that many of the old guard audience struggled with the non-linear Act One of Sanctuary City and I think this script's Brechtian style might be too much for them. It is a No from me.
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