We first met Hank Ostendorf at the Theatre @ Boston Court when he starred in The Good Book of Pedantry and Wonder. Scooter kept in touch on Facebook and learned about Ostendorf's company - The Transatlantic Theatre Company - and their new play: An Incident at the Border.
Scooter and I attended the opening on August 4, and it was so wonderful, that we're going again and taking The Mead in late August.
As you might image, it's a play about borders. With a name like An Incident at the Border, I couldn't help but think it was inevitably going to be about the Mexico-U.S. border specifically, and that it was going to be a play about national identities - a topic near and dear to my heart.
But I guess I missed the "transatlantic" part of the Transatlantic Theatre Company and failed to realize that it's a play that's being brought over from the UK.
The play is actually about a border that's being drawn in a nondescript country ... or countries, rather, as a line is dividing the country in two. So it's really a reflection on all kinds of borders - the physical and emotional boundaries that are either imposed on us by other entities or by ourselves. Where do we draw the line? Which lines do we cross? And do we respect the lines because we believe in them, or because someone told us not to cross them?
But it is, in a way, also about national identities, expressing a brief mediation on where you're from and how bound you are to your "home."
Moreover, it is a play about action and passivity - which actually seems to be the running theme for the plays I'm interested in this year: Anton's Uncles, The New Electric Ballroom, The Government Inspector, and even HOUSE. The notion of doing nothing is not only fascinating to the Russian and Irish authors, but to me as well - mostly because I can't stand being idle. I'm a woman of action, and I constantly need to explore and do things.
So do something today, and get your tickets now!
Scooter and I attended the opening on August 4, and it was so wonderful, that we're going again and taking The Mead in late August.
As you might image, it's a play about borders. With a name like An Incident at the Border, I couldn't help but think it was inevitably going to be about the Mexico-U.S. border specifically, and that it was going to be a play about national identities - a topic near and dear to my heart.
But I guess I missed the "transatlantic" part of the Transatlantic Theatre Company and failed to realize that it's a play that's being brought over from the UK.
The play is actually about a border that's being drawn in a nondescript country ... or countries, rather, as a line is dividing the country in two. So it's really a reflection on all kinds of borders - the physical and emotional boundaries that are either imposed on us by other entities or by ourselves. Where do we draw the line? Which lines do we cross? And do we respect the lines because we believe in them, or because someone told us not to cross them?
But it is, in a way, also about national identities, expressing a brief mediation on where you're from and how bound you are to your "home."
Moreover, it is a play about action and passivity - which actually seems to be the running theme for the plays I'm interested in this year: Anton's Uncles, The New Electric Ballroom, The Government Inspector, and even HOUSE. The notion of doing nothing is not only fascinating to the Russian and Irish authors, but to me as well - mostly because I can't stand being idle. I'm a woman of action, and I constantly need to explore and do things.
So do something today, and get your tickets now!
Yes, and maybe in this political climate, we see the active/passive play out with the electorate feeling helpless to change their situation and are doing nothing while the Tea Partiers and the Occupiers are trying to effect change from their own perspectives.
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