• Everybody

    Author(s):
    Elizabeth E. Tavares (see profile)
    Date:
    2019
    Subject(s):
    Medieval drama, Medieval England
    Item Type:
    Review
    Permanent URL:
    http://dx.doi.org/10.17613/p45q-0485
    Abstract:
    How does one make a medieval English morality play relevant for 2018? By thematizing one of the oldest devices of actorly virtuosity, doubling, Branden Jacobs-Jenkins’s Pulitzer-nominated Everybody has found a way to access contemporary ideas about death in exploring the intersection with the identity politics of race. Advertising materials for the ninety-minute play promoted not its heritage, but the fact that every performance would be highly unique due to an embedded lottery device. As the Usher (Sarah Lucht) explained at the top of the show while doling out bingo balls from a cage, this was done in order to “thematize the randomness of death while also destabilizing your [the audience’s] preconceived notions about identity.”
    Metadata:
    Published as:
    Journal article    
    Status:
    Published
    Last Updated:
    1 year ago
    License:
    All Rights Reserved
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