“The siren call is driving me to my end, like a ship to wreck on rocks”.
Two frustrated actors accidentally kidnap their favorite movie star… or is it really her? What is identity in a world where myths are stronger than we dare think?
A dramedy about identity and oneness, frustrated actors, classism, depression, myths and a quote by Albert Camus.
Annalee Scott delivers one of the most unnerving and raw performances I’ve seen at the 2019 Fringe. Her ice blue eyes cut through the moody lighting and barely-there set and seem to slow time and hush the air. Sitting feet from her luminous face, Scott was pure presence, and I couldn’t take my eyes off her. Paul Louis Harrell executed his role with an effortless balance of ease and and focus. But the true wonder of the production is Jola Cora, who wrote, produced, directed, and performed in the play—all with true skill and craft. From her mysterious entrance to the voyeuristic use of the stage’s second floor, Cora’s staging seemed to swirl about the space creating unrelenting tension and subtle magic. Her script was tight and minimal. Not a word was wasted, and every second of silence or speaking was crucially important. Every detail was precious, from Scott’s t-shirt and jeans to Cora’s breathtaking dress. What a wonderful experience.
Within 30 minutes, Cora executed a well-thought out show with mystery and intrigue. By keeping the cast to a few players, in a shadowy room with a soft light to relieve some of the darkness, the show becomes more intimate and gets the audience involved in the story and play Colombo by asking questions...
Wonderful cast with a skilled writer makes a great show.
Within 30 minutes, Cora executed a well-thought out show with mystery and intrigue. By keeping the cast to a few players, in a shadowy room with a soft light to relieve some of the darkness, the show becomes more intimate and gets the audience involved in the story and play Colombo by asking questions...
Wonderful cast with a skilled writer makes a great show.
Annalee Scott delivers one of the most unnerving and raw performances I’ve seen at the 2019 Fringe. Her ice blue eyes cut through the moody lighting and barely-there set and seem to slow time and hush the air. Sitting feet from her luminous face, Scott was pure presence, and I couldn’t take my eyes off her. Paul Louis Harrell executed his role with an effortless balance of ease and and focus. But the true wonder of the production is Jola Cora, who wrote, produced, directed, and performed in the play—all with true skill and craft. From her mysterious entrance to the voyeuristic use of the stage’s second floor, Cora’s staging seemed to swirl about the space creating unrelenting tension and subtle magic. Her script was tight and minimal. Not a word was wasted, and every second of silence or speaking was crucially important. Every detail was precious, from Scott’s t-shirt and jeans to Cora’s breathtaking dress. What a wonderful experience.
